Re: Regular Polygons

[Shane Brandes]

Typically fonts use x-height as a general design parameter. I don't know if
you find that helpful in this interesting project, but it is a point of
possible useage.

Regards,
Shane Brandes

On Sat, Jun 8, 2024, 5:47 AM Aaron Hill  wrote:

> Thank you both, Werner and Valentin, for taking the time to look at my
> submission.
>
> When I was playing around with drawing shapes, I was thinking paper
> scale not text scale.  This was inspired by Paolo's desire to draw
> arbitrary arrows and things.
>
> Because of that, I presumed the end user would desire absolute sizing.
> Of course, as I continued playing with the markup command, I realized it
> probably should work similar to the built-in \triangle command.
>
> I love the idea of tying things to font-size, so the shapes are
> automatically responsive to changes in the surrounding context.  That
> simplifies the usage of the command since you just need to specify point
> count.  This also makes it behave similar to the other built-in shape
> functions.
>
> Thankfully, it should be trivial to make the changes.  The question now
> is what reference glyph is the best?  "A" is notably a letter in most
> fonts that tries to make the apex more prominent.  As a result, it could
> make the polygons appear a little too big.  "O" has a similar issue.
> These glyphs are optically oversized, so they look good.  Perhaps "H"
> will work.  I think it usually has a consistently flat top and bottom
> without any optical adjustments.  Mind you, I could just be overthinking
> things.  Nothing would stop me from sampling all uppercase letters and
> averaging them.
>
> Regardless, you both have given me plenty to think about.
>
>
> -- Aaron Hill
>
>

Re: Anyone know this ornament?

[Shane Brandes]

Could also be a batterie, or an arpeggio that one runs over all the pitches
in between but only maintains the notated ones. Decidedly weird notion
though.

Shane Brandes

On Mon, Feb 19, 2024 at 1:33 PM Francesco Intrieri <
francesco.intrieri...@gmail.com> wrote:

> Dear Auke,
> Could it be a kind of « Arpègement simple » as Rameau describes in his *Pièces
> de clavecin*?
> Best,
> Franceesco
>
> Le 19 févr. 2024 à 19:28, Engraver  a écrit :
>
>
> This is a screenshot of the entire page.
>
>
>
> Op 19-2-2024 om 19:25 schreef Stefan Thomas:
>
> Dear Auke,
> I don't know this ornament either but maybe it could be useful to see a
> few bars more of this music.
> Best,
> Stefan
>
>>
>> Hallo,
>
> I'm transcribing the organ music of Josef Ferdinand Norbert Seger. The prelude
> I'm currently working on, shows an ornamentation I am not familiar with.
> See screenshot. I think it is probably meant as arpeggio, but I'm not
> sure. Does anyone know for sure what it is?
>
> Regards, Auke
>
>
> 
>
>
>

Re: optional variations

[Shane Brandes]

Whose faircopy and why the indecision?

-Shane

On Wed, Jan 17, 2024, 4:23 PM mog...@kayju.com  wrote:

> Hi,
>
> The handwritten manuscript I am typesetting wants the performer to play
>4 OR
>4 OR
>4OR
>4
> at the performer's discretion.  Does anyone know a standard notation for
> such flexibility - three ossia staves seems overkill.
>
> Regards,
> Mogens
>
>
>

Re: suggestion for slur?

[Shane Brandes]

 _\startTrillSpan

answers for that.

On Fri, Nov 24, 2023 at 5:16 PM David Kastrup  wrote:

> Mario Bolognani  writes:
>
> >\override TrillSpanner.bound-details.left.text = #'()
> >   \startTrillSpan
> >  works for 2.24
> >
> > This is an acceptable result :
>
> What piece of standalone code got you get this output?  Without
> providing any code to experiment with, you easily require 10-fold the
> amount of work for anybody willing to help you.  That decreases your
> chances of finding volunteers to make useful suggestions.
>
> --
> David Kastrup
>
>

Re: suggestion fo slur?

[Shane Brandes]

  \override TrillSpanner.bound-details.left.text = #'()
 \startTrillSpan
works for 2.24

regards,

Shane

On Fri, Nov 24, 2023 at 12:24 PM Mario Bolognani 
wrote:

> Hello,
>
> any suggestion for this kind of slur? Many thanks for any good idea...
>
> [image: Screenshot 2023-11-24 alle 18.22.25.png]
>
>
> Mario Bolognani
> mario.bologn...@gmail.com
>
>
>
>

Re: Mensural Lines in Choir Staff

[Shane Brandes]

\override Staff.BarLine.transparent = ##t

On Fri, Nov 17, 2023 at 1:50 PM Johannes Roeßler  wrote:

> Hi guys,
>
> there is a nice example for "Mensurstriche"
>
> \layout {  \context {\StaffmeasureBarType = "-span|"  }}
> music = \fixed c'' {  c1  d2 \section e2  f1 \fine}
> \new StaffGroup <<  \new Staff \music  \new Staff \music>>
>
> Unfortunately it doesn't work in a \ChoirGroup
>
> Any idea?
> Best,
> Joei
>
>

Re: Cadenza in right hand, metered in left

[Shane Brandes]

My solution works. Try it.

On Thu, Aug 3, 2023, 1:05 PM Knute Snortum  wrote:

> On Thu, Aug 3, 2023 at 9:47 AM Knute Snortum  wrote:
>
>> On Thu, Aug 3, 2023 at 8:31 AM Kieren MacMillan <
>> kie...@kierenmacmillan.info> wrote:
>>
>>> Hi Knute,
>>>
>>> > Now the only thing that remains is that one of the left hand bars
>>> lines is too close to the notes.
>>>
>>> Maybe
>>>
>>>   R2. \once \override Score.BarLine.extra-offset = #'(-1 . 0) \once
>>> \override Score.Clef.extra-offset = #'(-1 . 0) |
>>>
>>
>> That looks good, thanks!
>>
>
> Bah!  I spoke too soon.  Removing the Timing_translator from the score
> context and adding it to the staff works on my short sample, but when I put
> it into the entire piece, it messes up the engraving of all the rest of the
> bars.  Is there a way to remove the Timing_translator just at the credendo
> and not the entire piece?
>
> --
> Knute Snortum
>

Re: Cadenza in right hand, metered in left

[Shane Brandes]

\clef bass <<{\once \override NoteColumn.force-hshift = 1 af,4 \stemDown
q }\\{\hideNotes f f f }>> |


that will get you the rest of the way. adjust as necessary.

regards,
Shane Brandes

On Thu, Aug 3, 2023 at 10:56 AM Knute Snortum  wrote:

> This doesn't seem to have an effect:
>
> \clef bass \once \override NoteColumn.force-hshift = 1 af,4  q |
>
> Perhaps because of strict spacing = ##t?
>
> --
> Knute Snortum
>
> On Thu, Aug 3, 2023 at 7:25 AM Fernando Gil  wrote:
>
>> Perhaps using \once \override NoteColumn.force-hshift = 1 to push the
>> note to the right?
>>
>> El jue, 3 ago 2023 a las 8:58, Knute Snortum ()
>> escribió:
>>
>>> We are so close!  I used
>>>
>>>   \override Score.SpacingSpanner.strict-note-spacing = ##t
>>>   \newSpacingSection
>>>
>>> to start the strict spacing and
>>>
>>>   \override Score.SpacingSpanner.strict-note-spacing = ##f
>>>   \newSpacingSection
>>>
>>> to stop it.  Now the only thing that remains is that one of the left
>>> hand bars lines is too close to the notes.  I have attached the new source
>>> code and a PNG of its output.
>>>
>>> --
>>> Knute Snortum
>>>
>>

Re: margins

[Shane Brandes]

Indeed I did.  And somehow that never occured to me.

Thanks,

Shane

On Fri, Jul 21, 2023, 5:23 PM Hans Aikema  wrote:

>
> On 21 Jul 2023, at 23:08, Shane Brandes  wrote:
>
> Hi all,
>
> Today I was working on a project and I tried setting the top and bottom
> margins in the paperblock in the 2.24.0 version. Nothing changed so I ended
> up editing the paper-defaults-init.ly. That caused the change I wanted,
> but why isn't  the paper block part working? The side margins work just
> fine. It is odd and was a time waster finding a workaround. Any
> explanations?
>
> regards,
> Shane
>
>
> I suspect you set the paper-size AFTER the top-margin
>
> Working:
> { c' }
> \paper {
> #(set-paper-size "a4")
> top-margin = 60
> }
>
>
> Not working:
> { c' }
> \paper {
> top-margin = 60
> #(set-paper-size "a4")
> }
>
>

margins

[Shane Brandes]

Hi all,

Today I was working on a project and I tried setting the top and bottom
margins in the paperblock in the 2.24.0 version. Nothing changed so I ended
up editing the paper-defaults-init.ly. That caused the change I wanted, but
why isn't  the paper block part working? The side margins work just fine.
It is odd and was a time waster finding a workaround. Any explanations?

regards,
Shane

Re: removing `--show-rules` option of `convert-ly`?

[Shane Brandes]

I used to use that a lot, especially when the conversions did weird things
due to the amount of workarounds i used to use before the program really
became stellar. In any case, it has been very useful, and may yet still be.

-Shane Brandes

On Sat, Mar 4, 2023, 12:13 PM Mats Bengtsson 
wrote:

> (Sorry, my email client keeps using the wrong From: address)
>
>/Mats
> On 2023-03-04 08:09, Werner LEMBERG wrote:
>
> Folks,
>
>
> who has ever used option `--show-rules` of `convert-ly`, except for
> being curious what this option does?
>
> In https://gitlab.com/lilypond/lilypond/-/merge_requests/1854 we are
> discussing whether it would make sense to remove it.
>
> I've definitely used it a number of times over the years, for example to
> get a brief overview of recent syntax changes. Another use case is when
> trying to figure out the history of when a particular change happened and
> what changed, either since I have an old file myself or there is some
> question on the mailing list or I discover some "new" (to me) feature,
> since that can provide a pointer to which version of the Changes document
> to look at to learn more about the change.
>
> I know that you developers rather search directly in the git history or
> the issues history, but there it may be hard to know what to search for and
> even with the correct search term you might get too many hits to be able to
> quickly sort out which is relevant. On the other hand convert-ly -s allows
> me to quickly browse through the history.
>
> Regarding the discussion in the merge request, I don't see any reason to
> translate these messages. I wouldn't expect a lot of users who use the
> feature and don't know English sufficiently well to be able to decipher
> what it's about, especially since the Lilypond syntax itself is language
> independent.
>
> /Mats
>

Re: LilyPond 2.25.2

[Shane Brandes]

That is great, but where can one find a list of changes between versions?

Shane

On Sat, Feb 18, 2023 at 2:39 PM Jonas Hahnfeld via LilyPond user discussion
 wrote:

> We are happy to announce the release of LilyPond 2.25.2. This is termed
> a development release, but these are usually reliable for testing new
> features and recent bug fixes. However, if you require stability, we
> recommend using version 2.24.1, the current stable release.
> Please refer to the Installing section in the Learning Manual for
> instructions how to set up the provided binaries:
> https://lilypond.org/doc/v2.25/Documentation/learning/installing
>

Re: Key and time change at end of piece

[Shane Brandes]

Add an empty measure after the double bar.  /bar "||" s1

Shane

On Fri, Feb 17, 2023, 4:36 AM Aberforth D - Instrumentals <
aberfor...@gmail.com> wrote:

> Hello,
>
> I am working on a complete piano vocal score for an opera. To keep things
> manageable I work on individual pieces one at a time, one file per piece. I
> intend to combine them later with a superseding file into a book. My
> problem is this: Sometimes, a piece ends with a key change or time change
> in anticipation of the next piece. In such cases a piece typically ends
> with a double barline, because it is not the real end of the piece,
> followed by the key change and time change symbols and open ended staff
> lines at the right margin. However, when I use the following code, the
> staff lines are not printed. How can I force Lilypond to print the staff
> lines all the way to the end, without actually including more musical
> content? Below is a short example that illustrates the problem. Thank you
> for your help.
>
> \version "2.20.0"
> \language "english"
>
> \score {
>   \new Staff {
> \key f \major \time 4/4
> c'4 d' e' f' g' a' b' c'' \bar "||"
> \clef "bass" \key g \major \time 3/4
>   }
> }
>
>

Re: Lilypond in Termux (Android)

[Shane Brandes]

o.k. out of rampant curiosity I gave it a try on termux. And can't seem to
get any output. I managed to download lilypond 2.24.0 and extract it and
the chmod to make executable. Added a shebang and ran it on a file.  it
appears to work, but either there is no actual output, or it gets placed
somewhere unknown to me. Any ideas what I am not doing correctly? Googling
hasn't provided an answer but maybe I was asking the wrong question.
regards,
Shane

On Sun, Jan 22, 2023 at 8:26 AM Martin Tarenskeen 
wrote:

> Hi,
>
> Recently I discovered that LilyPond is available for Termux, a Linux-like
> terminal app for Android devices.
> Unfortunately it crashed my older (32bits) Samsung tablet, but it did run
> on my (64bits) phone. After my bugreport on Github something was fixed in
> the Guile package built for Termux a few days ago and now I am able to use
> LilyPond on Android. Hurray!
>
> If you want to try LilyPond on your Android device: First install Termux
> on your device using F-droid instead of directly from Google Play Store. I
> think Termux is not updated on Google Play anymore.
>
> Just wanted to share this with the Lilypond community.
>
> MT
>

Re: irrational meters

[Shane Brandes]

Because terminology amuses me here. Years ago, I learned that time
signatures were decidedly not fractions but ratios from a one Richard
Hoffman. But even before that I learned ratios consisted of antecedents and
consequents, which also seems to overlap musical structural terminology in
a weird way making that also fairly useless as a nomenclature.

Shane

On Wed, Jan 18, 2023 at 9:38 AM David Wright 
wrote:

> On Wed 18 Jan 2023 at 08:22:19 (+), Mark Knoop wrote:
> > At 16:46 on 17 Jan 2023, "H. S. Teoh" via LilyPond user discussion wrote:
> > > On Tue, Jan 17, 2023 at 07:08:41PM -0500, David Zelinsky wrote:
> > >> Kieren MacMillan  writes:
> > >>>
> > >>>> I wonder about the term “irrational” meter. Should not we say
> > >>>> “irregular” ??  as in mathematics, an irrational number is a number
> > >>>> which cannot be represented as a fraction...
> > >>>
> > >>> As both a published composer *and* a published number theorist, I
> > >>> wholeheartedly concur with your intuition — I’ve been pushing for
> > >>> decades against “irrational” as a descriptor for time signatures
> > >>> [except where it actually applies, of course, as in π/4].
> > >>>
> > >>> “Irregular” is better… but ultimately I prefer “non-dyadic” to
> > >>> describe any time signature where the bottom number (a.k.a.
> > >>> “denominator”, a label I also avoid) is not an integer power of 2.
> > > [...]
> > >> As another professional number theorist and musician (though not a
> > >> composer), I also find this use of "irrational" to mean "non-dyadic"
> > >> very grating.  But I once said as much on the Music Engraving Tips
> > >> facebook group, and got summarily shot down as ignorant and elitist.
> > >> The argument, such as it was, held that this is about *music*, not
> > >> *mathematics*, so there's no reason to adopt mathematicians' quirky
> > >> terminology.  This left me rather speechless, so I gave up.  However,
> > >> if I ever have reason to discuss this type of meter, will always call
> > >> it "non-dyadic".
> > > [...]
> >
> > > This is off-topic, but it would be interesting if somebody composed a
> > > piece with an actually irrational meter, like π/4 or 3/π.  Only thing
> > > is, it would be impossible for human performers to play correctly,
> since
> > > there isn't any way to count the beats correctly (counting beats
> implies
> > > a rational fraction, since by definition it's impossible to count up to
> > > an irrational ratio by counting finite parts).
> >
> > Perhaps one should define "correctly" before assuming impossibility. By
> > any definition of correctly which makes sense in this context (i.e.
> > precise rhythmic execution), it is arguably equally impossible to play
> > music in a *dyadic* meter correctly.
>
> I understood TSH's "correctly" to mean "precisely", and I would say
> that by convention, one is not expected to play music in a dyadic
> meter with precision. For example, most people are familiar with the
> Viennese Waltz and its anticipated second beat, or the ebb and flow of
> most solo piano music, and so on.
>
> OTOH specifying a (mathematically) irrational meter implies a
> precision that I would agree is virtually impossible to perform
> without artificial aids like computer synthesis.
>
> Cheers,
> David.
>

Re: sustain pedal display ugliness, how to fix?

[Shane Brandes]

This an old solution to put the pedal in its own context so you can add
spacers as you see fit. Maybe there is a better way now, but this works

pedal ={s8 s2\sustainOn s2\sustainOff  }


\score {
  \new PianoStaff \with {
instrumentName = "Piano"
  } <<
\new Staff = "right" \with {
  midiInstrument = "acoustic grand"
} << \rightOne >>
\new Dynamics = "dynamics" \dynamics
\new Staff = "left" \with {
  midiInstrument = "acoustic grand"
} { \clef bass << \leftOne>> }
\new Dynamics = "pedal" \pedal

On Thu, Mar 31, 2022 at 8:40 PM Kenneth Wolcott 
wrote:

> I forgot to mention that I've been struggling with this concept all
> day, with and without the use of spacers.  There's something that I'm
> just not getting through my thick skull.
>
> On Thu, Mar 31, 2022 at 5:31 PM Kenneth Wolcott
>  wrote:
> >
> > Hi;
> >
> >   I'm engraving from an existing Piano arrangement of the "Ave Maria"
> > composed by Schubert.
> >
> >   The typesetter uses the traditional sustain pedal style.
> >
> >   The 2 chord is repeated with sustain on and off.
> >
> >   The ugliness in my engraving is two-fold:
> >
> >   First, the sustainOff end ('*') the following SustainOn are jammed
> together.
> >
> >   The second problem I can easily fix by making certain that there is
> > a sustainOff prior to the forced line break. (No, I don't get that
> > either)
> >
> >   Since this is repeated for the entire piece, I'd really like to
> > place this in a variable.
> >
> >   Just not sure how to do that.
> >
> >   How is it that what is shown in the Notation Reference looks just
> > fine and it looks ugly when I try it?
> >
> > Thanks,
> > Ken Wolcott
> >
> > 
> >   2\sustainOn q\sustainOff\sustainOn | % m1
> >   2\sustainOff\sustainOn q\sustainOff\sustainOn  | % m2
> > \break
> >   2\sustainOff\sustainOn q\sustainOff\sustainOn  | % m3
> >   2\sustainOff\sustainOn q\sustainOff\sustainOn  | % m4
> > \break
> > 
>
>

Re: When the previous typesetter states "with pedal", what exactly does this mean?

[Shane Brandes]

In most cases this would mean use the pedal in an ad libitum fashion and
not play it dry without the use of the sustain pedal.

Shane

On Fri, Mar 25, 2022 at 8:52 PM Kenneth Wolcott 
wrote:

> HI;
>
>   When the previous typesetter states "with pedal",  what exactly does
> this mean?
>
>   I think it means "hold the sustain pedal from the beginning all the
> way through to the end".
>
>   But it could mean that the sustain pedal should be used in all cases
> that it makes sense to the performer.
>
>   In this case, what should be done to make the midi sound correct?
>
> Thanks,
> Ken Wolcott
>
>

Re: Beaming with magnifyStaff and stopStaff

[Shane Brandes]

values greater than 1 also yield odd results.

On Sun, Mar 20, 2022 at 6:41 PM Knute Snortum  wrote:

> Hi all,
>
> I have run into another possible-bug-certainly-ugly issue that I found
> trying to create an ossia bar. When a musical figure has beams and the
> staff is reduced in size with magnifyStaff and there is a stopStaff
> right after it, the stems are too short and the beams are too wide.
> Here's a MWE:
>
> %%%
> \version "2.23.6"
>
>   \new Staff \with { \magnifyStaff #2/3 } {
> \relative {
>   c''16 c \stopStaff s4. s2 |
> }
>   }
> %%%
>
> Is it a bug that I should post on the bugs list?  Is there a work-around?
>
> --
> Knute Snortum
>
>

Re: Help in the design of the work.

[Shane Brandes]

I think here you can use the instrument name to achieve your desired effect.

\new Staff \with {
  instrumentName = "я не знаю"
}


On Mon, Mar 7, 2022 at 2:49 PM Michael Gerdau  wrote:

> > Hello. I saw this design in the sheet music. And I really need to try to
> > do the same. But I don't know where to start. Or rather, I know how to
> > do everything related to the notes, but I don't know how to put the text
> > in front of the stanza.
> > Help, please. Very much it is necessary to do so.
>
> I have no clue what you try to achieve.
>
> Could you possibly give a (handwritten?) image of what you would like to
> final result to look like?
>
> Kind regards,
> Michael
> --
>   Michael Gerdau   email: m...@qata.de
>   GPG-keys available on request or at public keyserver
>
>

Re: slur to chord

[Shane Brandes]

perhaps you have a /slurdown declared earlier in your code?

On Mon, Mar 7, 2022 at 10:43 AM Mark Stephen Mrotek 
wrote:

> Shane,
>
>
>
> Shall inspect context. Perhaps something prior is affecting.
>
> Thank you for your assistance.
>
>
>
> Mark
>
>
>
> *From:* Shane Brandes [mailto:shane.bran...@gmail.com]
> *Sent:* Monday, March 7, 2022 7:40 AM
> *To:* Mark Stephen Mrotek 
> *Cc:* Lilypond-User Mailing List 
> *Subject:* Re: slur to chord
>
>
>
> Run the code as I set it down. you should see a slur from the b to the a
> as I do. That is what the ^( ) syntax ought to be doing for you. I see it
> very clearly as you wanted.
>
>
>
> On Mon, Mar 7, 2022 at 9:44 AM Mark Stephen Mrotek 
> wrote:
>
> Shane,
>
>
>
> Thank you for the suggestion, yet it only removes the slur it does not
> reposition it.
>
>
>
> Mark
>
>
>
> *From:* Shane Brandes [mailto:shane.bran...@gmail.com]
> *Sent:* Sunday, March 6, 2022 9:46 PM
> *To:* Mark Stephen Mrotek 
> *Cc:* Lilypond-User Mailing List 
> *Subject:* Re: slur to chord
>
>
>
> \version "2.22.1"
>
>
>
> \relative c' {
>
> \slashedGrace  b'8  ^( 8
>
> }
>
>
>
> On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek 
> wrote:
>
> Hello All,
>
>
>
> How do I get the slur go from the acciaccatura to the “a”?
>
>
>
> Thank you for your kind attention..
>
>
>
> \version "2.22.1"
>
>
>
> \relative c' {
>
>   \acciaccatura b'8 8
>
> }
>
>
>
> Mark Stephen Mrotek
>
>

Re: slur to chord

[Shane Brandes]

Run the code as I set it down. you should see a slur from the b to the a as
I do. That is what the ^( ) syntax ought to be doing for you. I see it very
clearly as you wanted.

On Mon, Mar 7, 2022 at 9:44 AM Mark Stephen Mrotek 
wrote:

> Shane,
>
>
>
> Thank you for the suggestion, yet it only removes the slur it does not
> reposition it.
>
>
>
> Mark
>
>
>
> *From:* Shane Brandes [mailto:shane.bran...@gmail.com]
> *Sent:* Sunday, March 6, 2022 9:46 PM
> *To:* Mark Stephen Mrotek 
> *Cc:* Lilypond-User Mailing List 
> *Subject:* Re: slur to chord
>
>
>
> \version "2.22.1"
>
>
>
> \relative c' {
>
> \slashedGrace  b'8  ^( 8
>
> }
>
>
>
> On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek 
> wrote:
>
> Hello All,
>
>
>
> How do I get the slur go from the acciaccatura to the “a”?
>
>
>
> Thank you for your kind attention..
>
>
>
> \version "2.22.1"
>
>
>
> \relative c' {
>
>   \acciaccatura b'8 8
>
> }
>
>
>
> Mark Stephen Mrotek
>
>

Re: slur to chord

[Shane Brandes]

\version "2.22.1"



\relative c' {

\slashedGrace  b'8  ^( 8

}

On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek 
wrote:

> Hello All,
>
>
>
> How do I get the slur go from the acciaccatura to the “a”?
>
>
>
> Thank you for your kind attention..
>
>
>
> \version "2.22.1"
>
>
>
> \relative c' {
>
>   \acciaccatura b'8 8
>
> }
>
>
>
> Mark Stephen Mrotek
>

Re: Stem length of beamed notes

[Shane Brandes]

\once \override Beam.positions = #'(0.5 . 0.5)

regards,
Shane

On Mon, Jan 24, 2022 at 1:11 PM Francesco Napoleoni <
mlists-lilyp...@cosmic-odyssey.net> wrote:

> Hi everyone
>
> While engraving the music in screenshot-source.png I’ve stumbled on a
> problem:
> I cannot adjust the stem height of the first couple of eighth notes to
> look
> like the printed version.
>
> To be more specific: overriding the Stem.details.beamed-lengths does not
> work
> for me no matter which value I put between the parentheses. The relevant
> part
> is at line 6 of fragment.ly.
>
> Any ideas?
>
> Thanks in advance
> Francesco Napoleoni
>

Re: Advice for vocal score

[Shane Brandes]

Well, after monkeying around with things I came up with splitting the music
data files with includes. So something like \include "sectiona.ly" \include
"sectionb.ly" for a single part. etc. So a single part would be multiple
includes and then the includes could be included where needed in the vocal
score. However, it turned out that while this was doable in certain cases
it wasn't in, all for the reason that I needed to put voices into other
lines and merge them in sometimes funky ways that were not receptive to
such a method. So the upshot was I abandoned the idea, but it might have
worked well for something simpler than what I happened to be doing. Anyway,
I do not expect to have to make too many further edits to either the full
or vocal score so there shouldn't be too much double maintenance in any
event.

regards and thanks again for the help,
Shane



On Sun, Nov 28, 2021 at 5:30 PM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:

> Hi Shane,
>
> > I think Wol has mentioned the exact tool, Tags,  required for what I am
> trying to accomplish. Those are not something I have ever used or even run
> across.  Hopefully I can manage them without further assistance.  Thank you
> all!
>
> I will be interested to see how you use the \tag system to accomplish this
> without duplicating the information (which I thought was what you wanted to
> avoid). Please do share your final solution with the list when you get it
> working, so we can learn from it.
>
> Cheers,
> Kieren
>
>

Re: LilyPond 2.23.5 released

[Shane Brandes]

Some of the new abilities are really great. I love \after # command for
shifting hairpin durations. String-lines seems very useful. Also lots of
nifty new parentheses possibilities. Those were things that really stand
out in the change list. I am sure other people might jump in excitement for
many of the others. Thanks for the progress.

-Shane

On Wed, Dec 1, 2021 at 9:54 AM Leonid Hrabovsky 
wrote:

> Thanks for the comment - I remain with 2.22.1 so far.
>
>
> *Леонід - Leonid*
>
>
>
> <https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=webmail_term=icon>
>  Virus-free.
> www.avast.com
> <https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=webmail_term=link>
> <#m_-7603713519621903611_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2>
>
> On Wed, Dec 1, 2021 at 3:38 AM Phil Holmes  wrote:
>
>> We are happy to announce the release of LilyPond 2.23.5. This is termed
>> a development release, but these are usually reliable. If you want to
>> use the current stable version of LilyPond, we recommend using the
>> 2.22.1 version.
>>
>>
>>
>>

Re: Advice for vocal score

[Shane Brandes]

I think Wol has mentioned the exact tool, Tags,  required for what I am
trying to accomplish. Those are not something I have ever used or even run
across.  Hopefully I can manage them without further assistance.  Thank you
all!
Shane

On Sun, Nov 28, 2021 at 2:32 PM Valentin Petzel  wrote:

> Hello Shane,
>
> I don’t understand what you want exactly. If you want to cue orchestra
> voices
> in the choir part you should take a look at quoting.
>
> So use
> \addQuote "name" \orchestralmusic
> To „define” a quotable part and then
> Use
> \quoteDuring "name" \somevocalmusic
>
> Cheers,
> Valentin
>
> Am Sonntag, 28. November 2021, 19:56:01 CET schrieb Shane Brandes:
> > Hi all,
> >
> > I am finishing up a larger scale work for chorus and orchestra. I started
> > making a vocal score with piano reduction. The instruction manual A.5.2.
> > details well enough how to make a reduction of the choral parts, but how
> > can one drag in the bits from the orchestra parts that lay between chorus
> > entrances in such a  way that one only needs to maintain the parts
> > themselves without making duplicate editing if changes are made?
> >
> > regards,
> > Shane

Advice for vocal score

[Shane Brandes]

Hi all,

I am finishing up a larger scale work for chorus and orchestra. I started
making a vocal score with piano reduction. The instruction manual A.5.2.
details well enough how to make a reduction of the choral parts, but how
can one drag in the bits from the orchestra parts that lay between chorus
entrances in such a  way that one only needs to maintain the parts
themselves without making duplicate editing if changes are made?

regards,
Shane

Re: Terminology question

[Shane Brandes]

It never crossed my mind that figured bass was anything other than a non
countable noun. Just like fish or sheep. As a spoken term it sounds more
like a tax term.

Shane

On Tue, Jun 15, 2021 at 11:01 AM David Sumbler  wrote:

> I think the real question is "what do you call a single figure or column
> of figures under a bass note".  So far as I am aware, the term "figured
> bass" means a bass line (not a single note) that has figuring to indicate
> the harmonies.
>
> If I want to talk about a number of such bass lines - e.g. the bass lines
> of several pieces so notated - then I would call them "figured basses".
>
> I'm not sure that I have ever heard of a term to describe one single
> harmony so notated.
>
> Not a very helpful answer to your query, perhaps, but that's the usage I
> am familiar with.
>
> David
>
>
> On Tue, 2021-06-15 at 16:20 +0200, Jacques Menu wrote:
>
> Hello folks,
>
> What would be the plural of ‘figured bass’, if that applies, to
> denote several occurrences of the figures in a score, the same way has
> there can be several harmonies? Maybe ‘figured bass figures’?
>
> In the example below, there 5 such occurrences:
>
> Thanks for. your help!
>
> JM
>
>
>

Re: Changing staff colour

[Shane Brandes]

Hi Paul,

This works
for what you are after I believe.

musicB = {
\new PianoStaff  <<
{ \new Staff = "right"  {

\override Staff.StaffSymbol.color = #blue
 c'1-\markup "blue"
\stopStaff   \override Staff.StaffSymbol.color = #magenta
  \startStaff  { c'1-\markup "Magenta" }
    }
}
>>
}

regards,
Shane Brandes

On Fri, Jun 4, 2021 at 10:38 AM Paul McKay  wrote:

> Hi
> I am working on some Haydn piano music and want to distinguish between
> urtext and my version music. (I plan to write out the variations I use when
> I repeat.) A neat way to do it would be to change the colour of the staff
> lines. I can't find a way that works. I can change the colour easily enough
> at the beginning of the staff, but it doesn't seem possible to change it
> thereafter. For what I want to achieve, it would be fine to start a new
> staff but it would need to look like a continuation of a previous one. Here
> is what I've tried so far. I'd like the final version to have two
> contiguous bars where the staff colour matches what's indicated by the
> markup.
> Thanks in advance.
> Paul
> \version "2.22.0"
>
> % Change staff color
> musicA = {
> \new PianoStaff  <<
> { \new Staff = "right"  {
> \accidentalStyle modern-cautionary
> \override Staff.StaffSymbol.color = #blue
> { c'1-\markup "blue" }
>   } \new Staff = "rong" { % Calling this one "right" too, doesn't
> change anything.
>   \override Staff.StaffSymbol.color = #magenta
> { c'1-\markup "Magenta" }
> }
> }
> >>
> }
> musicB = {
> \new PianoStaff  <<
> { \new Staff = "right"  {
> \accidentalStyle modern-cautionary
> \override Staff.StaffSymbol.color = #blue
> { c'1-\markup "blue" }
>   \override Staff.StaffSymbol.color = #magenta
> { c'1-\markup "Magenta" }
> }
> }
> >>
> }
>
> \score {
> { \musicA \musicB }
>  \layout { indent = #0
>   \context { \Staff \RemoveEmptyStaves }
>  }
> }
>

Re: Time bracket notation for very large scale compositions

[Shane Brandes]

Greetings Andrew Culver,

You have posted a pretty broad swathe of questions to the LilyPond
Community. I suspect people will likely give a few responses. My personal
use case is limited in comparison to things you might be undertaking. The
Thalberg piano concerto is the largest thing I ever have typeset with
Lilypond, and it ate that for breakfast. I would not describe myself as a
power user and therefore don't have answers to many of the questions.
However, to this point I have never seen someone show up on the list and
find out something can't be done. It might take the extensibility provided
by the magic of Scheme, which is a programming language, used to extend
lilyponds abilities. As far as future proofing, Lilypond has an automated
code updating program, which does very well with making sure the old code
is compliant with the current version's standards. The only time that might
break is if something very kludgy was done. Personally, I have only broken
something once, but that was because many years ago I was using something
absolutely not in the way it was intended to achieve some end. In terms of
fussiness of laying out objects in a correct way, Lilypond does these
things out of the box in a way that other programs I have used just don't
approach. So for a very great percentage of things tweaking items (manually
moving) is not necessary. And there are ways for working around tweaking
bits of code without having to compile a whole vast document. So in any
event, it is likely LilyPond is an excellent candidate for your needs,
unfortunately I can't give all the answers, and really am looking forward
to whatever discussion your missive generates. It is always interesting to
learn what this program is capable of.

kind regards,
Shane Brandes

On Fri, Apr 9, 2021 at 12:18 PM AHF  wrote:

> Hello LilyPeople,
>
> I am looking into using LilyPond for future works. What I like about it is
> the text input, which makes it very easy to integrate with the collection
> of C programs and PostgreSQL functions I use to generate and manage music
> for large-scale pieces. (I’m on a Mac.)
>
> I have been doing this since the late 1980’s, for John Cage's operas,
> installations, and films, and for my own large-scale orchestral works, such
> as “Ocean 1-133” for 150 musician soloists over 90 minutes — see the Merce
> Cunningham work “Ocean" if you are interested.
>
> The parts for Ocean 1-133 (more than 3000 pages) were pulled from the
> database and formatted using C code into the P-field file format of the
> wonderful old Score program by Leland Smith. Like LilyPond, this format is
> expressed with simple text files. Given the abandonment of Score and the
> vibrancy of LilyPond, I want to know if I should be using LilyPond.
>
> The example below is from one of Cage’s Number pieces, demonstrating Time
> Bracket notation. The important challenges for a notation program are:
> - Each time bracket is centered on the page, and the system is only as
> long as necessary.
> - No barlines.
> - Notes within the time bracket are distributed evenly horizontally. There
> is no notion of tempo or meter.
> - Whole note noteheads - or any notehead I want, free of any metric
> constraints.
> - Ample vertical spacing between time bracket systems.
> - Horizontally centered headers and footers (not shown).
> - Sometimes one piece runs over several pages (a “piece” is a set of time
> brackets for one player).
>
>
> Score had no problem doing this because fundamentally it was a CAD program
> augmented by musical knowledge. With the P-field format, you essentially
> cut out the musical knowledge layer. You got to put beautiful-looking music
> symbols wherever you wanted them. From what I can tell, the musical
> knowledge part of the equation is too deeply baked in to most notation
> programs, such that if you don’t need it, or want to invent new rules, you
> are stuck trying to trick the program into not doing what it “helpfully”
> insists on doing.
>
> I need to be able to generate 100% of the .ly files from C, taking as a
> source the composition in the database (which was also generated, using
> chance operations, with C code). Because of the volume of pages, hand
> tweaking the parts is not an option.
>
> So:
> 1. Is LilyPond up to the job?
> 2. What commands are used to do the time bracket centering, meter-free
> notehead selection, bar-less notehead equidistant spacing, etc.?
> 3. Is LilyPond going to gracefully let me set music symbols where I want
> them, or will I be constantly having to fool it into compliance at every
> turn? A follow-up question: If I do have to work around LilyPond’s
> “knowledgeable” music formatting “conveniences”, will these work-arounds
> end up being “corrected” in future versions, thus breaking my existing code?
>
> BTW, I am open to hiring a knowledgeable LilyPerson as a time-saving and
> inspirational resource. Reply to this email if you are interested.
>
> Regards,
>
> Andrew Culver
>
>
>
>

Re: Suggestion: Use non powers of 2 for tuplets

[Shane Brandes]

You are on your own on that one. I think it just leads to the unpleasant
chaos of having to look up what those mean in a table somewhere after you
have forgotten why you put that into your score.

-Shane

On Thu, Mar 25, 2021 at 10:20 PM Valentin Petzel  wrote:

> Hello!
>
> Currently Lilypond only supports powers of 2 for specifying duration.
> Could we
> use the other numbers for common divisions?
>
> For example: We could use 3 for 2*3/2, 5 for 4*5/4, 6 for 4*3/2, 7 for
> 8*7/8,
> 9 for 8*9/8, 10 for 8*5/4, 11 for 8*11/8, 12 for 8*3/2 and so on.
>
> This would be quite useful, especially for the divisions of three (*3/2),
> because stuff like this
> e8*2/3 dis cis cis8. dis16 e8*2/3 dis cis cis8. dis16
> Is not really nice to enter, while
> e12 dis cis cis8. dis16 e12 dis cis cis8. dis16
> would be much less effort.
>
> Cheers, Valentin

Re: crescendi/decrescendi on one note in Lilypond? and how does a pianist do this?

[Shane Brandes]

You hit the note then after a slight delay step the sustain pedal all the
way down and then add vibrato. It gives on some nicely made pianos a nice
bloom of sound. The trick is going into the note or chord with no pedal at
all for the preceding short bit of music. Pictures at an Exhibition has
such a thing in the Catacombs movement that this can be used. Anyway, that
Is how I deal with the problem.

-Shane

On Sat, Jan 30, 2021 at 8:21 PM Kenneth Wolcott 
wrote:

> Thank you all!
>
> On Sat, Jan 30, 2021 at 6:47 AM Noeck  wrote:
> >
> > >   How does a pianist do this?
> >
> > Scores can describe what a player should think or feel even though the
> > note fades on its own in this case.
> >
> > >   And, even more importantly, how to engrave this?
> >
> > You can search the list archives for "\after" a small function that can
> > make it easier to do that (easier than manually create two voices which
> > also works).
> >
> > Cheers,
> > Joram
> >
>
>

Re: tying notes across voices

[Shane Brandes]

  << { d4 b8 } \\ {g b~ g}\\{s8  \hideNotes b~ \once \override
NoteColumn.force-hshift = #-.1 b} >>

A possible solution to your problem.
regards,
Shane


On Sat, Nov 28, 2020 at 4:37 PM Shuwei Hu  wrote:

> Dear list,
>
> I'm trying to tie notes across voices. Example:
>
> \version "2.20.0"
>
> \relative c'' {
>   \time 3/8
>   << { d4 b8 } \\ {g b g} >> |
>   <<
> {
>   r8
>   \tweak Stem.transparent ##t
>   \tweak Stem.length #8
>   b8~ b\noBeam
> }
> \\
> { r8 b8[ g] }
>   >>
> }
>
> The second bar uses a trick of invisible notes copied from the
> documentation
> <https://lilypond.org/doc/v2.20/Documentation/learning/other-uses-for-tweaks>.
> The same trick fails to apply to the first bar because the note d4 occupies
> the space for the invisible note.
>
> Does anyone know how to tie notes (b8) across voices in the first bar?
>
> Any help is appreciated.
>
> Best,
> Sylvain
>

font construction

[Shane Brandes]

Hi all,

Is there any documentation floating around on how fonts for LilyPond are
actually built? I know Abraham Lee has successfully made some new ones, but
is he the only guy now that knows the process? I tried fiddling with
working on one, but that was just by opening an extant font and replacing
glyphs. Somehow I think that approach might lead to unexpected consequences
or is it as simple as that?

regards,
Shane Brandes

Re: LilyPond 2.21.5 release

[Shane Brandes]

Looks like a lot of neat new stuff implemented!

-Shane

On Mon, Aug 17, 2020 at 3:55 AM Phil Holmes  wrote:

> We are pleased to announce the release of the latest development build of
> LilyPond, 2.21.5.
>
> --
> Phil Holmes
>
>
>
>

Re: Changing slur behavior

[Shane Brandes]

Increase the spacing-increment on line twenty. I tried a value of 2 and it
worked fine.

regards,

Shane

On Mon, May 25, 2020 at 12:06 PM Fr. Samuel Springuel 
wrote:

> I’ve come back to this after a bit and have found a deal breaker of a
> problem: when the slur spans over notes which go both up and down, the note
> heads after the turn around collide.  See attached example.
>
> ✝✝
> Fr. Samuel, OSB
> (R. Padraic Springuel)
> St. Anselm’s Abbey
> 4501 South Dakota Ave, NE
> Washington, DC, 20017
> 202-269-2300
> (c) 202-853-7036
>
> PAX ☧ ΧΡΙΣΤΟΣ
>

Re: Suggestion to make sharps and flats persistent

[Shane Brandes]

This is just a feature request for laziness with resulting opaqueness. I
think it has been requested several times over the years because of other
program's bad habits.

Shane

On Mon, May 18, 2020 at 12:17 PM Urs Liska  wrote:

> Am Montag, den 18.05.2020, 18:11 +0200 schrieb David Kastrup:
> > Gianmaria Lari  writes:
> >
> > > Hello Paul,
> > >
> > >
> > > > [...]If I'm writing music in F, then I suggest that I be able to
> > > > use *bF*
> > > > as a pitch instead of *bf*. The *F* would indicate that all
> > > > subsequent *b*s
> > > > would be flattened until one is encountered with a different
> > > > accidental or
> > > > until the end of the current music expression. It should have the
> > > > same
> > > > scope as \stemUp or similar. [...]
> > > >
> > >
> > > I don't know "how much Frescobaldi knows" of the lilypond code the
> > > user is
> > > editing. If it has a logical representation of the source code it
> > > could be
> > > Frescobaldi (and not lilypond) to handle this feature and offering
> > > to
> > > autocorrect, according the key signature indicated in the source
> > > code, the
> > > note you write while you write it.
> > > You are in F, you write b and it propose bes.
> > > Maybe with different language (never used english for lilypond note
> > > input)
> > > this would be more difficult.
> >
> > As an editing feature, this makes a lot more sense in my book: you
> > see
> > the effects it has and have the means to correct them immediately,
> > like
> > with actual graphic input.  But for a batch processor, this kind of
> > second-thinking is a recipe for trouble, and the more second-thinking
> > there is, the harder it is to reliably get results without the
> > corresponding visual feedback.
> >
>
> I think there are only two reliable (and therefore reasonable)
> approaches. Either you encode a pitch at what it "is" (a f sharp is
> always an f sharp) or you encode it at how it is printed (a note in the
> first staff space of a treble clef is encoded as "f" and will be
> rendered as an f in c major but as an f sharp in d major. I really
> dislike this idea but it is done so for example in MEI, also Amadeus'
> input language works that way, and a power user insisted to me it is
> superior because it doesn't cause ambiguity but substantially less
> keystrokes).
>
> But having "f" behave depending on what has been encoded before is
> begging for disaster. Copy has already been mentioned, but I
> think it is already harder to *read* in the input file. This by far
> outweighs the saved keystrokes IMHO.
>
> My 2cts
> Urs
>
>
>
>

Re: An exciting new release… of Sibelius!!!

[Shane Brandes]

They are really on the ball on that one.

-Shane

On Fri, Mar 27, 2020 at 10:09 AM Valentin Villenave 
wrote:

> Hi everybody,
> I know it’s off-topic but I wanted to share the news because, let’s be
> honest, nobody in their right mind would want to miss it:
> Yes!  It’s finally here!  The latest and brightest version of Sibelius
> is out…  *And* it offers one particularly exciting, exclusive new
> feature:
> https://is.gd/x16C0B
>
> … Oh wait, that’s the wrong link.  There you go:
> https://is.gd/ussdKG
>
> Seriously guys, how cool is that??
>
> Cheers,
> V.
>
>

Re: Cadenza Senza Tempo Problem

[Shane Brandes]

Reggie,

You will need both bits of code. \once \override TrillSpanner.extra-offset
= #'(0 . -0.2) The last number controls the vertical position. It will
require experimentation and guesswork try a value as large as 3 and observe
what happens to the trill spanner. It will work.

regards,
Shane

On Mon, Oct 28, 2019 at 3:30 PM Reggie  wrote:

> Shane, your code does not work. When I move left and right the trills still
> do not align line up side by side as I show in my picture. Please?
>
>
> Shane Brandes-2 wrote
> > \once \override TrillSpanner.extra-offset = #'(0 . -0.2)  That will help
> > with the vertical position somewhat cumbersome as you must guess the
> > offset
> > value.
> >
> > you can also define a function, which you can invoke where needed.
> >
> > trillArrow =
> > \once \override TrillSpanner.bound-details.left.text = \markup {
> >   \concat {
> > \musicglyph #"scripts.trill"
> > \translate #'(0.5 . 1.0)
> > \fontsize #-4
> > \with-dimensions #'(0 . 1.2) #'(0 . -2)
> > \↓
> >   }
> > }
> >
> > That should get you going in the right direction.
> >
> > regards,
> > Shane
> >
> > On Mon, Oct 28, 2019 at 6:22 AM Reggie 
>
> > reegistoop@
>
> >  wrote:
> >
> >> Hello list. I am struggling with this. Please don't laugh I just feel
> >> like
> >> crying I cannot see what is right in front of me I must be. I am
> >> attempting
> >> to learn more deeper in lilypond and try a cadenza sort of passage. I
> see
> >> two problems I am bad at. One, how do I get the trills to be side by
> >> alongside? Two, I can't understand how to make piano empty system end at
> >> the
> >> same location vertical as the trill staff? What is the secret I feel so
> >> stupid. Thank you for your kind help. Is there any details about working
> >> with free music cadenza pieces? I've read the documentation section on
> >> cadenza mode but not in practice I'm struggling.
> >>
> >> \version "2.19.83"
> >> <<
> >>   \time 4/4
> >>
> >>   \new Staff {
> >> \cadenzaOn
> >> \hide Score.TimeSignature
> >> r8 a'4\startTrillSpan^\markup {"senza tempo -" \italic "quasi
> >> cadenza"}
> >> b'\startTrillSpan\stopTrillSpan a'\startTrillSpan\stopTrillSpan
> >>
> >> b'\startTrillSpan\stopTrillSpan
> >>
> >>
> >> e'''\stopTrillSpan f'''\startTrillSpan
> >> e'''\startTrillSpan\stopTrillSpan
> >> f'''\stopTrillSpan
> >> \bar "" \break
> >>
> >> \cadenzaOff
> >> \time 4/4 c''' c''' c''' c'''
> >>
> >>   }
> >>   \new PianoStaff {
> >> <<
> >>   \new Staff  { \clef treble s1*2   }
> >>   \new Staff  { \clef bass  s1*2  }
> >> >>
> >>
> >>   }
> >> >>
> >>
> >> \paper {
> >>   ragged-right = ##f
> >> }
> >>
> >> Chou_Wen-chungg.jpg
> >> 
> http://lilypond.1069038.n5.nabble.com/file/t5625/Chou_Wen-chungg.jpg;
> >>
> >>
> >>
> >> --
> >> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
> >>
> >>
>
>
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
>

Re: Cadenza Senza Tempo Problem

[Shane Brandes]

\once \override TrillSpanner.extra-offset = #'(0 . -0.2)  That will help
with the vertical position somewhat cumbersome as you must guess the offset
value.

you can also define a function, which you can invoke where needed.

trillArrow =
\once \override TrillSpanner.bound-details.left.text = \markup {
  \concat {
\musicglyph #"scripts.trill"
\translate #'(0.5 . 1.0)
\fontsize #-4
\with-dimensions #'(0 . 1.2) #'(0 . -2)
\↓
  }
}

That should get you going in the right direction.

regards,
Shane

On Mon, Oct 28, 2019 at 6:22 AM Reggie  wrote:

> Hello list. I am struggling with this. Please don't laugh I just feel like
> crying I cannot see what is right in front of me I must be. I am attempting
> to learn more deeper in lilypond and try a cadenza sort of passage. I see
> two problems I am bad at. One, how do I get the trills to be side by
> alongside? Two, I can't understand how to make piano empty system end at
> the
> same location vertical as the trill staff? What is the secret I feel so
> stupid. Thank you for your kind help. Is there any details about working
> with free music cadenza pieces? I've read the documentation section on
> cadenza mode but not in practice I'm struggling.
>
> \version "2.19.83"
> <<
>   \time 4/4
>
>   \new Staff {
> \cadenzaOn
> \hide Score.TimeSignature
> r8 a'4\startTrillSpan^\markup {"senza tempo -" \italic "quasi cadenza"}
> b'\startTrillSpan\stopTrillSpan a'\startTrillSpan\stopTrillSpan
>
> b'\startTrillSpan\stopTrillSpan
>
>
> e'''\stopTrillSpan f'''\startTrillSpan
> e'''\startTrillSpan\stopTrillSpan
> f'''\stopTrillSpan
> \bar "" \break
>
> \cadenzaOff
> \time 4/4 c''' c''' c''' c'''
>
>   }
>   \new PianoStaff {
> <<
>   \new Staff  { \clef treble s1*2   }
>   \new Staff  { \clef bass  s1*2  }
> >>
>
>   }
> >>
>
> \paper {
>   ragged-right = ##f
> }
>
> Chou_Wen-chungg.jpg
> <http://lilypond.1069038.n5.nabble.com/file/t5625/Chou_Wen-chungg.jpg>
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
>

Re: Grace note beams won't hide correctly

[Shane Brandes]

\undo \omit Stem
 That turns it back on.
regards,
Shane

On Thu, Jul 4, 2019 at 5:07 PM Ben  wrote:
>
> Hi all,
>
> This is the first time I've encountered the need to hide grace note beams 
> and/or stems. Can someone show me what I am doing wrong?
>
> I'm attaching an image of what I am after.
>
> Thank you!
>
> Here is my code so far:
>
> 
>
> \version "2.19.82"
> \language "english"
>
>
> \relative c'
>
> %% This hide the beams and stems, but I only want to hide the middle notes.
> {
>   \omit Beam
>   \omit Stem
>   \appoggiatura  {
> e!8(^[
>
> g! c! fs bf ef bf fs c! e,!]
> df4)
>   }
> }
>
>
> %% This hide the stems, and it's 99% there, but I can't figure out how to 
> finish this with the correct beaming and slash.
>
> \relative c'
> {
>   \appoggiatura  {
> e!8(^[
>
> \omit Beam
> \omit Stem
> g! c! fs bf ef bf fs c! e,!]
>
> df4)
>   }
>
> }
>
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Re: Part name going off screen

[Shane Brandes]

short-indent = 1\cm try something like that in the paper block. you might
have to adjust the value to your liking.

regards,
Shane

On Fri, Jun 7, 2019 at 11:19 AM branden marbaugh <
brandenmarbaugh1...@gmail.com> wrote:

> So I am using Frescobaldi and used the setup wizard for a 4-voice project.
> The first line of the 4 voices is good but in the 2nd line, the instrument
> name goes off screen.
>
> Attached is an image of it. Let me know if there is anything else you
> would like me to send.
>
> [image: image.png]
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Re: Archive search down

[Shane Brandes]

Working in Ohio at 7:47 p.m. est.

On Sun, Feb 10, 2019 at 7:44 PM Andrew Bernard  wrote:
>
> Anything I search for here at the archives produces n9o results:
>
> https://lists.gnu.org/archive/html/lilypond-user/
>
> Is the archive system down?
>
> I tried three different browsers on two different computers.
>
> Andrew
>
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Re: Parenthesized second key signature

[Shane Brandes]

A.G.O, American guild of organists has sight transposition tests for
their certification program, but I think they only go a third from the
printed key.

regards,
Shane
On Sat, Dec 1, 2018 at 10:14 PM Andrew Bernard  wrote:
>
> Hi David,
>
> We have a similar tradition in Australia (British colony?) in organ playing. 
> That's why I thought the other key sig. is redundant.
>
> Andrew
>
>
> On Sun, 2 Dec 2018 at 09:38, David Wright  wrote:
>>
>>
>> In my experience, the convention in church music in Britain is that
>> organists can transpose, to varying standards of expertise, along with
>> talents like playing counterpoint written on individual staves,
>> extemporising on Anglican chants, etc. Things that are sorely missed
>> over here.
>>
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Re: Comparison of Musescore, Sibelius and Dorico -- would like to add Lilypond

[Shane Brandes]

So it does everything on that list near as I can work out.
On Tue, Nov 20, 2018 at 5:57 PM Torsten Hämmerle
 wrote:
>
> Shane Brandes wrote
> > What do they mean by jazz articulations?
>
> Hi Shane,
>
> I guess they mean doits, falls, shakes, bends…
>
> All the best,
> Torsten
>
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: Comparison of Musescore, Sibelius and Dorico -- would like to add Lilypond

[Shane Brandes]

Is there anything on that list that Lilypond doesn't do? What do they
mean by jazz articulations?

-Shane
On Tue, Nov 20, 2018 at 3:04 PM David Bellows  wrote:
>
> Urs,
>
> >I think it would be good to add our stuff to the chart (not necessarily much 
> >to the comments section).
>
> If the owner of the spreadsheet allows it, then definitely. I don't
> know them personally so I don't know how they feel about that. I
> suppose we could create our own version if they do not agree. I'm one
> of the mods in that sub so I'll be making the chart a permanent link
> in the sub so either way would work (and obviously we can link to it
> from anywhere else we'd like).
>
> > not only check the given items with yes/no but also freely add to the list
>
> I agree. The OP did ask for omissions/corrections so I would think
> these (and others) would apply.
>
> > find a way to plug the "programmability" aspect (vs. applying plugins 
> > after-the-fact),with things like complete extensibility with 
> > syntactical means, conditional layout per engraving target ...(Maybe 
> > this would even warrant a new tab in the sheet)
>
> One of Lilypond's biggest strengths! Working out meaningful/useful
> parallels with the other programs would be the issue, I'm guessing?
> On Tue, Nov 20, 2018 at 11:50 AM David Kastrup  wrote:
> >
> > Karlin High  writes:
> >
> > > On 11/20/2018 12:38 PM, David Bellows wrote:
> > >> Over in the /r/composer sub on Reddit, a user put together a chart
> > >> listing features of Musescore, Sibelius and Dorico.
> > >
> > > I remember seeing some past work done with comparing LilyPond to other
> > > software.
> > >
> > > <https://github.com/engraving-challenges/main>
> > > <https://lilypondblog.org/category/comparisons/>
> > >
> > > Other list members here may have more recent references or info.
> >
> > I think it's always a bit of a squeeze to compare LilyPond with other
> > programs, particularly in the "challenges" department since the
> > challenge is often more to the user than to the program, LilyPond being
> > an open architecture with user-extensible functionality to a much larger
> > degree than other programs.
> >
> > So a particularly user may set a checkmark "yes, can do" while this does
> > not actually hold for a typical user without asking on the mailing list.
> >
> > --
> > David Kastrup
>
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Re: [OT] Search for Morgensterns Galgenlieder for choir

[shane]

Bernhard,
A longshot idea, did you try contacting the church you sang at? Some of the 
churches I have worked with or for have had excellent music libraries that had 
holdings going back 70 years or more. Then again a many of them have had some 
"helpful" person tidy things up and disposed of vast amounts of "useless" 
stuff. Resulting in a trendy 10 year old collection of not terribly 
interesting. 

Sent from my T-Mobile 4G LTE Device
 Original message From: Bernhard Kleine 
 Date: 6/9/18  3:12 PM  (GMT-05:00) To: lilypond-user 
 Subject: [OT] Search for Morgensterns Galgenlieder for 
choir 
When I was young we sung a piece of Christian Morgensterns Galgenlieder
with the Youth choir of Gelsenkirchen: Es gibt ein Gespenst, das frisst
Taschentücher. After almost 50 years I wanted to get the partitur for
this piece by Kodaly. But the internet and the search at an music
literature shop turned up not a single choir score for this. Then I
asked at the Music Library in Freiburgs Town library. Any luck either. I
looked through the MGG (compendium of componists) for Kodaly, but in the
list of pieces I could not find it. Where would you look for such a score?

Thanks for reading. Any help will be appreciated.

Cheers

Bernhard

-- 
spitzhalde9
D-79853 lenzkirch
bernhard.kle...@gmx.net
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Re: [OT] Search for Morgensterns Galgenlieder for choir

[shane]

Bernhard,
A longshot idea, did you try contacting the church you sang at? Some of the 
churches I have worked with or for have had excellent music libraries that had 
holdings going back 70 years or more. Then again a many of them have had some 
"helpful" person tidy things up and disposed of vast amounts of "useless" 
stuff. Resulting in a trendy 10 year old collection of not terribly 
interesting. 

Sent from my T-Mobile 4G LTE Device
 Original message From: Bernhard Kleine 
 Date: 6/9/18  3:12 PM  (GMT-05:00) To: lilypond-user 
 Subject: [OT] Search for Morgensterns Galgenlieder for 
choir 
When I was young we sung a piece of Christian Morgensterns Galgenlieder
with the Youth choir of Gelsenkirchen: Es gibt ein Gespenst, das frisst
Taschentücher. After almost 50 years I wanted to get the partitur for
this piece by Kodaly. But the internet and the search at an music
literature shop turned up not a single choir score for this. Then I
asked at the Music Library in Freiburgs Town library. Any luck either. I
looked through the MGG (compendium of componists) for Kodaly, but in the
list of pieces I could not find it. Where would you look for such a score?

Thanks for reading. Any help will be appreciated.

Cheers

Bernhard

-- 
spitzhalde9
D-79853 lenzkirch
bernhard.kle...@gmx.net
www.b-kleine.com, www.urseetal.net
-
thunderbird mit enigmail
GPG schlüssel: D5257409
fingerprint:
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Re: [OT] Search for Morgensterns Galgenlieder for choir

[shane]

I suppose wether or not ismlp has it depends on if you are Canadian or a slave 
to Mickey Mouse. This piece could have been commercially unsuccessful or 
supressed. Why is the ghost voraciously eating the table cloth? Or am I 
misunderstanding the title?
Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: Aaron Hill  
Date: 6/10/18  6:08 AM  (GMT-05:00) To: lilypond-user@gnu.org Subject: Re: [OT] 
Search for Morgensterns Galgenlieder for choir 
On 2018-06-10 03:01, David Kastrup wrote:
> Aaron Hill  writes:
> 
>> On 2018-06-10 02:52, Aaron Hill wrote:
>>> On 2018-06-10 02:45, David Kastrup wrote:
>>>> Andrew Bernard  writes:
>>>> 
>>>>>> On 10 June 2018 at 05:12, Bernhard Kleine
>>>>>>  wrote:
>>>>>> 
>>>>>>> When I was young we sung a piece of Christian Morgensterns
>>>>>>> Galgenlieder
>>>>>>> with the Youth choir of Gelsenkirchen: Es gibt ein Gespenst, das
>>>>>>> frisst
>>>>>>> Taschentücher.
>>>>>>> 
>>>>> 
>>>>> Hi Bernahrd.
>>>>> 
>>>>> Try IMSLP:
>>>>> 
>>>>> http://imslp.org/wiki/Galgenlieder_(B%C3%B6ttger%2C_Martin)
>>>> 
>>>> Martin Böttger, first published in 2014.  This does not really
>>>> match the
>>>> part of the request:
>>>> 
>>>>> After almost 50 years I wanted to get the partitur for this piece 
>>>>> by
>>>>> Kodaly.
>>>> 
>>>> all too well.
>>> 
>>> Looks like this is a better fit at 1922:
>>> 
>>> http://imslp.org/wiki/Neue_Galgenlieder%2C_Op.43b_(Graener%2C_Paul)
>>> 
>>> The first part, Gespenst (Moderato), is the one Bernhard quoted.  
>>> See:
>>> 
>>> http://www.mumag.de/gedichte/mor_c06.html
>> 
>> Never mind.  That edition was just a vocal/piano arrangement.  Not for
>> a choir.
> 
> I also suspect that it's hard to misremember "piece by Kodaly" since
> Kodály is comparatively unique.

Oh, believe me.  I'm hitting my head on the proverbial desk for missing 
that in the original post.

But if we are in fact talking about Zoltán Kodály (d. 1967), then his 
works would likely still be under copyright, so it is unlikely to find 
them on IMSLP.

-- Aaron Hill

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Re: Intervals enharmony question

[Shane Brandes]

Then there is always "what is more out of tune than two flutes? One flute"

Shane B.

On Mon, Apr 30, 2018 at 11:34 PM, Paul Scott <waterho...@ultrasw.com> wrote:
> On Mon, Apr 30, 2018 at 10:27:10PM +0200, Hans Åberg wrote:
>>
>> > On 30 Apr 2018, at 22:23, Torsten Hämmerle <torsten.haemme...@web.de> 
>> > wrote:
>> >
>> > Hans Åberg-2 wrote
>> >> I play the flute, and I checked with one of my teachers who sits on one of
>> >> the operas here.
>> >
>> > Hi Hans,
>> >
>> > It's funny that you mention the flute of all instruments. It reminds me of
>> > the old joke
>> > "How do you get two flute players to play in unison?" - - - "Shoot one!"
>> >
>> > No offence meant, I just couldn't resist :)
>>
>> Flutes have a very definite pitch, making it hard to play in unison, unlike 
>> strings then. It is mentioned in Blatter's book on orchestration.
>
> I've only heard this joke about piccolo players where the tuning is much more
> difficult.
>
> Paul
>
>
>>
>>
>>
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Re: Large set of parts

[shane]

There is a chinese tongue twister that is really long and consists entirely of 
the sound "shi." The vice president of the shanghai conservatory told me that 
one.  It is worth looking up. 
Regards,Shane Brandes


Sent from my T-Mobile 4G LTE Device
 Original message From: Jacques Menu Muzhic 
<imj-muz...@bluewin.ch> Date: 4/27/18  3:51 PM  (GMT-05:00) To: Werner LEMBERG 
<w...@gnu.org> Cc: d...@gnu.org, nathan.r.sprang...@maine.edu, 
lilypond-user@gnu.org Subject: Re: Large set of parts 
Excellent, Werner!

JM

> Le 27 avr. 2018 à 20:17, Werner LEMBERG <w...@gnu.org> a écrit :
> 
> 
>>> Guiness Book claim for worst tongue-twister:
>>> 
>>> "The sixth sick sheikh's sixth sick sheep's sixth sheep's sick"
>>> 
>>> Say it several times fast for full effect.
>> 
>> The worst German one I know is "Brautkleid bleibt Brautkleid und
>> Blaukraut bleibt Blaukraut.  Blaukraut bleibt Blaukraut und
>> Brautkleid bleibt Brautkleid".
> 
> While I can (relatively) easily pronounce this one, I'm completely
> lost with the Swiss variant, which you can see in this video :-)
> 
>  https://www.youtube.com/watch?v=QOwITNazUKg
> 
> 
>    Werner
> 
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Re: Do we have a "damp" symbol?

[Shane Brandes]

Is this a tomayto vs. tomahto problem? Is there really a discrete
difference? or is it just diiferent fonts making it look different?

regards,
Shane

On Wed, Apr 25, 2018 at 2:35 PM, Malte Meyn <lilyp...@maltemeyn.de> wrote:
>
>
> Am 25.04.2018 um 18:06 schrieb Kieren MacMillan:
>>>
>>> Where is the difference to a coda sign?
>>
>>
>> I believe the preferred symbol is different from a coda sign (more
>> circular, and less calligraphic), but in recent years [with computer
>> engraving] people have simply substituted the coda sign.
>
>
> Elaine Gould seems to use the same symbol for Coda and harp damping (very
> similar to scripts.coda from Emmentaler).
>
>
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Re: Pedal bracket alignment

[shane]

I usually use an independent voice that can be populated with s values such 
that you can fudge the distances. If you have a pedal duration you want 
displayed as different from the rhythm for example c2 c4 but you only wish the 
pedal mark for quarter beat then s4\sustainOn s4\sustain off. 
Regards, Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: Edward Neeman <edward.nee...@gmail.com> 
Date: 4/14/18  6:55 PM  (GMT-05:00) To: Lilypond-user <lilypond-user@gnu.org> 
Subject: Pedal bracket alignment 
Hello,

I would like to align the pedal bracket changes closer to the middle of the 
notes they’re attached to, instead of at the beginning of the note.

What is the best way to achieve this? I have been using shorten-pair but that 
leaves too much space between the Ped. mark and the start of the bracket.

\version "2.19.80"

\relative {
  \set Staff.pedalSustainStyle =#'mixed 
  \override Staff.PianoPedalBracket.shorten-pair = #'(0.6 . -0.6)
  c'4\sustainOn c d\sustainOff\sustainOn d\sustainOff e\sustainOn e 
f\sustainOff f 
}

Thanks!
Edward
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Re: Clefs

[Shane Brandes]

http://jan.ucc.nau.edu/tas3/musoffcanons.html


On Wed, Apr 4, 2018 at 8:32 PM, Ben <soundsfromso...@gmail.com> wrote:
> On 4/4/2018 8:29 PM, Shane Brandes wrote:
>
> No it is a mirror image that indicates retrograde. Not on that page.
>
> S.
>
> On Wed, Apr 4, 2018 at 6:18 PM, Ben <soundsfromso...@gmail.com> wrote:
>
> On 4/4/2018 6:04 PM, Ethan Sue wrote:
>
> Hello
> I am transcribing some baroque canons. Does anyone know how to make upside
> down/backwards clefs?
>
>
>
> Hello,
>
> Do you have a picture of what exactly you mean?
> Is the clef you want featured anywhere on this page?
>
> http://lilypond.org/doc/v2.19/Documentation/notation/clef-styles
>
>
>
> Do have you a photo of the clef?
>
>

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Re: Clefs

[Shane Brandes]

No it is a mirror image that indicates retrograde. Not on that page.

S.

On Wed, Apr 4, 2018 at 6:18 PM, Ben  wrote:
> On 4/4/2018 6:04 PM, Ethan Sue wrote:
>
> Hello
> I am transcribing some baroque canons. Does anyone know how to make upside
> down/backwards clefs?
>
>
>
> Hello,
>
> Do you have a picture of what exactly you mean?
> Is the clef you want featured anywhere on this page?
>
> http://lilypond.org/doc/v2.19/Documentation/notation/clef-styles
>
>
>
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Re: Is lilypond suitable for big composition projects?

[Shane Brandes]

Composition tactics are a very individual to a persons habits and
skill sets. I use LilyPond for composing intermittently. If it is in
my head and needs to be set down it is useful. If I am actively trying
to work something out; I work with paper and pencil or pen, as nothing
beats that for efficiency. Sometimes If I have the ideal structure of
a piece worked out I will map that out in LilyPond and then fill in
the blanks as I have time. But I don't think that is a good tool for
composition unless you have a lot of skill with it. I am sure there
are others that might disagree, but as far as resulting output it is
tremendous and as yet there is nothing that looks as worthwhile to
use.

As far as the midi you ought to be able to go to whatever measure and
beat you want to examine and listen to it using the midi tool in
Frescobaldi.

regards,
Shane



On Thu, Mar 22, 2018 at 11:35 AM, Jonas Daverio <daverio.jo...@gmail.com> wrote:
> That may seem like a stupid question, but I've been using LilyPond with
> Frescobaldi for a year and a half, but I start to ask myself if it is as
> efficient as if I had used another tool like Musescore.
>
> I explain: I don't have at all a powerful computer, and I think that an
> essential feature that I have to have to compose efficiently is to see what
> I've written in real-time. There is such a feature in Frescobaldi name
> "continuous engraving" (or something like that, my version is not in
> English), but on my slow computer and with a big project such as a 20-pages
> quartet or symphony, it takes at least 40 to 50 seconds to render.
>
> In addition, it would be great to hear the music out of the midi file by
> clicking on the preview (like on almost every WYSIWYG music software) but
> Frescobaldi's midi player is pretty useless for that.
>
> I'm not saying that LilyPond and Frescobaldi are bad, it's probably just me
> who don't know the right tools or the right way to use them. I'm asking to
> find a way to make my workflow more convenient to compose.
>
> Do you have any suggestions?
>
> Thanks!
>
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Re: Bug? Mismatched grace notes at beginning of staff cause extra clefs in other staffs

[shane]

At this point shouldn't it be called a feature?
Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: Thomas Morley 
<thomasmorle...@gmail.com> Date: 3/10/18  7:57 PM  (GMT-05:00) To: Lucas 
Werkmeister <m...@lucaswerkmeister.de> Cc: lilypond-user 
<lilypond-user@gnu.org> Subject: Re: Bug? Mismatched grace notes at beginning 
of staff cause extra
clefs in other staffs 
2018-03-11 0:58 GMT+01:00 Lucas Werkmeister <m...@lucaswerkmeister.de>:
> Hi everyone,
>
> I found what I suspect is a LilyPond bug, but I’m not sure yet :) minimal
> example:
>
> \version "2.18.2"
>
> <<
>   \new Staff { \grace c' c' }
>   \new Staff { \clef "bass" }
>>>
>
> Instead of beginning with a bass clef, the lower staff begins with a violin
> clef and then has a bass clef right after the time signature. If a different
> key signature is set (omitted in the above example for brevity), the
> accidentals are only printed after that extra clef as well, and the whole
> group (bass clef and accidentals) is shifted to the left so that it overlaps
> the time signature.
>
> This seems to happen when the two staves begin with different amounts of
> grace notes. A workaround is to add a silent grace note to the lower staff
> (\grace s) – just make sure that it’s the same duration as the real grace
> note in the upper staff: if it’s longer (e. g. a simple \grace s without
> explicit duration if the current duration is 4 and the duration of the other
> grace note is 8), then the upper staff will have the same problem instead
> (extra clef – same as the original one in this case – and accidentals only
> after that).
>
> Unfortunately, I’m unable to check if this still happens in the current
> development version of LilyPond since I’m getting an error when building
> from Git, but that’s for a different email :) perhaps someone else can check
> that, so I don’t open a bug report for something that’s already fixed? (Or
> perhaps it’s simply expected that grace notes should be aligned between
> staves? But that would surprise me.)
>
> Oh, and for the sake of people googling for this error – it also affects
> \acciaccatura, \appoggiatura and \slashedGrace.
>
> Cheers,
> Lucas


It's issue 34
https://sourceforge.net/p/testlilyissues/issues/34/
Likely our most infamous bug, not fixed.

The workaround you've found is mentioned in the docs ;)
Search for grace synchronization.

Cheers,
  Harm

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Re: Bug? Mismatched grace notes at beginning of staff cause extra clefs in other staffs

[shane]

At this point shouldn't it be called a feature?
Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: Thomas Morley 
<thomasmorle...@gmail.com> Date: 3/10/18  7:57 PM  (GMT-05:00) To: Lucas 
Werkmeister <m...@lucaswerkmeister.de> Cc: lilypond-user 
<lilypond-user@gnu.org> Subject: Re: Bug? Mismatched grace notes at beginning 
of staff cause extra
clefs in other staffs 
2018-03-11 0:58 GMT+01:00 Lucas Werkmeister <m...@lucaswerkmeister.de>:
> Hi everyone,
>
> I found what I suspect is a LilyPond bug, but I’m not sure yet :) minimal
> example:
>
> \version "2.18.2"
>
> <<
>   \new Staff { \grace c' c' }
>   \new Staff { \clef "bass" }
>>>
>
> Instead of beginning with a bass clef, the lower staff begins with a violin
> clef and then has a bass clef right after the time signature. If a different
> key signature is set (omitted in the above example for brevity), the
> accidentals are only printed after that extra clef as well, and the whole
> group (bass clef and accidentals) is shifted to the left so that it overlaps
> the time signature.
>
> This seems to happen when the two staves begin with different amounts of
> grace notes. A workaround is to add a silent grace note to the lower staff
> (\grace s) – just make sure that it’s the same duration as the real grace
> note in the upper staff: if it’s longer (e. g. a simple \grace s without
> explicit duration if the current duration is 4 and the duration of the other
> grace note is 8), then the upper staff will have the same problem instead
> (extra clef – same as the original one in this case – and accidentals only
> after that).
>
> Unfortunately, I’m unable to check if this still happens in the current
> development version of LilyPond since I’m getting an error when building
> from Git, but that’s for a different email :) perhaps someone else can check
> that, so I don’t open a bug report for something that’s already fixed? (Or
> perhaps it’s simply expected that grace notes should be aligned between
> staves? But that would surprise me.)
>
> Oh, and for the sake of people googling for this error – it also affects
> \acciaccatura, \appoggiatura and \slashedGrace.
>
> Cheers,
> Lucas


It's issue 34
https://sourceforge.net/p/testlilyissues/issues/34/
Likely our most infamous bug, not fixed.

The workaround you've found is mentioned in the docs ;)
Search for grace synchronization.

Cheers,
  Harm

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Re: Hairpin solid with dashed end

[Shane Brandes]

Just out of curiosity what does it signify?

Shane



On Tue, Feb 20, 2018 at 9:25 PM, Andrew Bernard
<andrew.bern...@gmail.com> wrote:
> Is there any example of how to make a hairpin with normal solid lines, but
> dashed at the end, say the last quarter or so? [Yep, some new complexity
> notation again.]
>
> Andrew
>
>
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Re: OT: typewriter LaTeX package

[shane]

Agreed, however this does a bang up job of doing up very early period print 
such especially incunabula period or really any type that was set where the 
slugs were not exactly identical an therefore didn't fit in the form perfectly. 


Sent from my T-Mobile 4G LTE Device
 Original message From: msk...@ansuz.sooke.bc.ca Date: 2/16/18  
1:01 PM  (GMT-05:00) To: Shane Brandes <sh...@grayskies.net> Cc: Henning Hraban 
Ramm <lilypon...@fiee.net>, lilypond-user Mailinglist <lilypond-user@gnu.org> 
Subject: Re: OT: typewriter LaTeX package 
On Fri, 16 Feb 2018, Shane Brandes wrote:
> Got it to work. Figured out you can change to what ever font you want
> in the sty file. Lessening the the grayscale variability and some of
> the other variables with the use of a historical font yields really
> convincing period style documents. This is absolutely great.

Really real typewritten documents wouldn't have every instance of every
letter shifted independently at random as this package does, though.
Instead, individual typewriters would have unique but systematic
distortions.  Maybe on my typewriter, each "e" would be a little lower
than the baseline and each "T" would be tiled three degrees; and on your
typewriter it would be some other distinctive pattern.  These kinds of
things were important in forensic analysis as a way of identifying which
typewriter was used to produce a document.

When it comes to fonts, at one point when I needed a nice-looking
simulated typewriter font I ended up licensing Underwood Typewriter from
Vintage Type, who used to be at vintagetype.com but now don't seem to be
on the Web.  I don't know if that means they're out of business.  The site
at vintagetype.co doesn't seem to be the same company.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/
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Re: OT: typewriter LaTeX package

[Shane Brandes]

Got it to work. Figured out you can change to what ever font you want
in the sty file. Lessening the the grayscale variability and some of
the other variables with the use of a historical font yields really
convincing period style documents. This is absolutely great.

Shane

On Fri, Feb 16, 2018 at 3:03 AM, Henning Hraban Ramm
<lilypon...@fiee.net> wrote:
> Am 2018-02-16 um 08:35 schrieb Johan Vromans <jvrom...@squirrel.nl>:
>
>> What I also recall is that on a dual-colour typewriter (typically black/red)
>> you could get black letters that were partly red in descenders.
>
> Oh yes, the super bold (or punched-through) dots are the one thing that I’m 
> missing in this package.
> Some random partly red characters would be a nice additional touch.
> ;D
>
> Greetlings, Hraban
> ---
> fiëé visuëlle
> Henning Hraban Ramm
> http://www.fiee.net
>
>
>
>
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Re: OT: typewriter LaTeX package

[Shane Brandes]

Hi Urs,

The documentation and example, one and the same, are nicely
convincing. Going to have to see if it can be pushed beyond the
intended font. That really made my day. i have been wondering about
such a trick for years.

regards,
Shane

On Thu, Feb 15, 2018 at 7:23 AM, Urs Liska <li...@openlilylib.org> wrote:
> Sorry for the OT post, but I just have to share this new LaTeX package:
> http://www.ctan.org/pkg/typewriter
>
> I really hope I'll find an opportunity to use it soon:-)
>
> Urs
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Re: Gis major key signature; Lily's key signature algorithm

[shane]

Organ's can be tuned equally with ease, although it is fairly time intensive. 
(A midsize instrument, say 25 stops, will take about 8 hrs. to do) It is not a 
lack of competence but a general lack of consistent temperature that frequently 
gives the general tuning fuzziness to the organ. It is a very temperature 
dependent creature for sure. I played on one for awhile that come winter was 
irrittingly out of tune for the first 10 minutes of the service as the organ 
chamber did not warm nearly as fast as the rest of the building. By the end of 
the service it sounded very decent. There have been others that have been just 
as adversely affected by the immense amount of heat the lighting systems put 
out so by the end of the service the reeds were always a risky proposition. 
-Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: David Kastrup <d...@gnu.org> Date: 
2/8/18  7:53 AM  (GMT-05:00) To: "N. Andrew Walsh" <n.andrew.wa...@gmail.com> 
Cc: lilypond-user <lilypond-user@gnu.org> Subject: Re: Gis major key signature; 
Lily's key signature algorithm 
"N. Andrew Walsh" <n.andrew.wa...@gmail.com> writes:

> Hi David,
>
> On Thu, Feb 8, 2018 at 10:39 AM, David Kastrup <d...@gnu.org> wrote:
>
>>
>> Don't be silly.  Equal temperament most certainly is not
>> "technologically impossible".
>
>
> please note the qualifier "in the 18th century." The technological
> means to tune *exact* equal temperament weren't available until around
> the 1830s,

There are no "technological means".  Professional tuners of a number of
instruments tune by _ear_ after tuning a single note (which is
independent from temperament) to a reference.  Of course, organs are not
really tuned equally tempered even now, but that's not because of a lack
of competence.  Accordions are tuned by ear by good tuners, and those
_are_ equal tempered as a rule.

-- 
David Kastrup

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Re: Change the shape of treble clef

[Shane Brandes]

See section  in the documentation 3.4.4 Replacing the notation font

What is it you don't like about that glyph? Your not the only person
who has said as much and I have yet to hear a decent explanation.

It would also be possible to edit your own version, but it is sort of
a cumbersome undertaking. That would involve using a font editor and
installing the modified font.

regards,
Shane

On Wed, Feb 7, 2018 at 6:02 PM, klose <amadeu...@live.com> wrote:
> As a long time Sibelius user, I recently changed into Lilypond. So far the
> only thing I don't like is the treble clef shape. Is there any way to change
> it?
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: Font names convention

[Shane Brandes]

Fonts are slightly weird and are encoded  with both a name, with or
without a style subset name, and a human readable name which can be
irritatingly different from the actual name. There can be no spaces in
the names which is why the difference in Human readable and the
programming name. As far as camel case it will make a font that is
entirely different in being requested to one in all caps or all lower
case of the same letters. Anyway, it really can prove a headache in
some cases. The most accurate method I can recommend for examining
this stuff is using Fontforge which is probably a bit much power just
to check on such things.

regards,

Shane

On Thu, Jan 18, 2018 at 11:05 AM, Werner LEMBERG <w...@gnu.org> wrote:
>
>> When in the .tex file I write
>>
>>   \setmainfont{Adobe Garamond Pro}
>>
>> the font is correctly used, but the "fullname" I get out of the Lua
>> object is "AGaramondPro-Regular".
>
> This looks like the PostScript name.
>
>> This is also what is shown in the properties of the PDF, but with
>> different entries for the different font weights.
>>
>> the "name" of the Lua font object is
>>
>>"AdobeGaramondPro:mode=node;script=latn;language=DFLT;+tlig;"
>>
>> This looks like it could be massaged to "Adobe Garamond Pro", but
>> I'm really not sure this is the way to go.
>
> [I'm not a luatex user.]  This appears to be name ID 1 taken from the
> font's `name' table, with spaces removed.  I strongly suggest that you
> get confirmation on a luatex list or forum.
>
> Look also at the output of `fc-list -v', entries `family'
> vs. `fullname'.
>
>> Is *that* approach of CamelCasing a general rule?  What about Fonts
>> that have CamelCase in their actual name?  What about fonts that
>> Have consecutive capitals in their name?
>
> There is certainly no magic here.  Those camel casing is already
> present in the font (or it happens as soon as spaces get removed).
>
>> Is there any reliable way to get the name to be used for LilyPond
>> out of LuaLaTeX?
>
> I'm very confident that this is possible, since luatex parses the font
> tables by itself.  Again a question for a luatex list...
>
>
> Werner
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Re: odd marcato placement

[Shane Brandes]

Awesome!

On Thu, Jan 18, 2018 at 5:28 AM, Malte Meyn <lilyp...@maltemeyn.de> wrote:
>
>
> Am 18.01.2018 um 05:58 schrieb Shane Brandes:
>>
>> The following code produces what looks to me as an an unanticipated
>> result as the second two marcato marks are slightly elevated. I fixed
>> it with a Script.extra-offset but still wonder if this is some odd
>> edge case.
>>
>> \version "2.18.2"
>>
>>
>> \new Staff \relative c' {
>>
>> \tuplet 6/4  {
>>   8 ^^ [8 ^^
>>  8 ^^ 8 ^^
>>  ^^ ] }
>> }
>
>
> This is a bug that has been fixed in 2.19.xx so you could just use 2.19.80
> instead of 2.18.2.
>
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odd marcato placement

[Shane Brandes]

The following code produces what looks to me as an an unanticipated
result as the second two marcato marks are slightly elevated. I fixed
it with a Script.extra-offset but still wonder if this is some odd
edge case.

\version "2.18.2"


\new Staff \relative c' {

   \tuplet 6/4  {
 8 ^^ [8 ^^
8 ^^ 8 ^^
^^ ] }
}

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Re: Tempo Alignment Questions

[Shane Brandes]

\override Score.MetronomeMark.extra-offset = #'(x . -y)  that will do
it you will have to iterate a few guesses to get what you want.

Shane

On Sat, Jan 13, 2018 at 11:34 PM, Jay Anderson <horndud...@gmail.com> wrote:
> I'm unable to find them at the moment, but I've seen threads discussing
> general overrides for tempo marks to make them work better (e.g. avoid
> stacking, better horizontal alignment with other objects). What are the
> current recommend overrides that you use to get better tempo behavior? The
> suggestion from Gould is:
> - Align with the time signature
> - If no time signature then align with the first notation element (that's
> not the starting clef or key signature)
>
> Here are some things I'm looking to solve:
>
> (1) Align with repeat sign at the beginning of a system. I haven't found the
> right overrides to make that work.
>
> =
> \version "2.19.80"
> \score {
>   \new Staff \transpose c c' {
> c1 | \break
>
> %RehearsalMarks align where the tempo should in this case
> \override Score.RehearsalMark.self-alignment-X = #LEFT
> \mark "RehearsalMark"
>
> %Not sure how to make MetronomeMarks align. Here's what I've tried:
> \override Score.MetronomeMark.break-align-symbols = #'(staff-bar)
> \override Score.MetronomeMark.non-break-align-symbols = #'()
> \tempo "MetronomeMark"
>
> \repeat volta 2 { c1 |}
>   }
> }
> =
>
> (2) Align with accidentals. The default lilypond behavior is to align with
> the notehead. Like the above I haven't found the right overrides to make
> this work.
>
> =
> \score {
>   \new Staff \transpose c c' {
> cis1 |
> %Not sure how to make MetronomeMarks align. Here's what I've tried:
> \override Score.MetronomeMark.non-break-align-symbols =
> #'(accidental-interface)
> \tempo "Accidental Alignment"
>
> cis1 |
>   }
> }
> =
>
> (3) Alignment with multimeasure rests. I haven't found any definitive source
> for how these should behave. It isn't addressed directly in Gould though
> there are some examples on page 565 where they appear to be just to the left
> of the bar line. Lilypond does this mostly, but it leaves more horizontal
> space between the bar line and the start of the tempo than I'd like.
>
> \override Score.MetronomeMark.non-break-align-symbols =
> #'(paper-column-interface multi-measure-rest-interface)
>
> The above is very close except after a break the tempo indication left
> aligns with the left edge of the system instead of right after the clef. I'm
> not sure how to fix that.
>
> =
> \score {
>   \new Staff \transpose c c' {
> \compressFullBarRests
> \markLengthOn
> \override Score.MetronomeMark.non-break-align-symbols =
> #'(paper-column-interface multi-measure-rest-interface)
> \tempo "Somewhat long tempo"
> R1*20 |
> % Align to bar line
> \tempo "Another long tempo"
> c1 | \noBreak
> R1*20 |
> %Misaligned after break
> \tempo "Yet another long tempo"
> R1*20 |
> \tempo "Final long tempo"
> R1*20 |
> \markLengthOff
>   }
> }
> =
>
> In conjunction with the above, to nudge it slight to the left of the bar
> line with multi measure rests the override below seems to work well and I
> like it better than directly aligning with the bar.
>
> =
> #(define (is-bar-aligned grob)
>   (and (grob::has-interface grob 'break-aligned-interface)
> (eqv? 'staff-bar (ly:grob-property grob 'break-align-symbol
>
> #(define (callback mm)
>   (let ((parent (ly:grob-parent mm X)))
> (if (is-bar-aligned parent)
>   '(1 . 0)
>   '(0 . 0
>
> ...
>
> \override Score.MetronomeMark.extra-offset = #callback
> =
>
> (4) Alignment after rehearsal marks. My preference here would be to have the
> rehearsal mark followed by tempo mark instead of stacking. Most of the time
> this isn't a big problem. However when music gets a bit compressed they
> stack (even using \markLengthOn). Also if I manage to make the above (3)
> work for alignment with multimeasure rests this will also occur. This would
> be worth thinking about after the above.
>
> Any suggestions for the above would be welcome. Thanks.
>
> -Jay
>
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Re: Next round on frescobaldi dependencies

[Shane Brandes]

I don't think anyone is blaming you. We are just trying to help you
succeed. I think everyone here has encountered the dependency mismatch
hell somewhere along the line. And it is never a good time. Take a few
days off from fighting with it. Then try it again.

regards,
Shane

On Mon, Jan 1, 2018 at 3:04 AM, Andrew Bernard <andrew.bern...@gmail.com> wrote:
> Hi Urs and Simon,
>
> Since everybody wants to blame me here, I'll bow out.
>
> Something wrong with my Ubuntu 17. I can't make it work. I shall give up.
>
> Thanks all for the hints.
>
> Andrew
>
>
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Re: Next round on frescobaldi dependencies

[Shane Brandes]

o.k. after figuring out how to read synaptic logs these two bits might
be the things that were changed
python-wxgtk3.0 (3.0.2.0+dfsg-5)
python-wxversion (3.0.2.0+dfsg-5)

Shane

On Sun, Dec 31, 2017 at 10:28 PM, Shane Brandes <sh...@grayskies.net> wrote:
> I also am unning Frescobaldi 3.0.0 on Ubuntu 17.10. It required a
> small amount of finagling. I threw the resulting error which it
> iinitially was throwing into google which led to a fix that was doable
> through synaptic. It wasn't particularly difficult. It was a matter of
> changing some bit of python library i think. Anyway, at the time I
> thought it was trivial enough not to write it down. Probably should
> have sent it here. It is doable.
>  good luck,
> Shane
>
> On Sun, Dec 31, 2017 at 9:01 PM, Urs Liska <li...@openlilylib.org> wrote:
>>
>>
>> Am 01.01.2018 um 00:26 schrieb Andrew Bernard:
>>
>> Hi Tim, The thing about installation instructions is that they have to be
>> exact, to save time and hassle. While the page mentions Python 3, it then
>> goes to list just Python versions of modules - no suffix 3.
>>
>>
>> There is an ambiguity that really should be clarified. The two custom
>> modules that are required are:
>>
>> https://github.com/wbsoft/python-ly
>> https://github.com/wbsoft/python-poppler-qt5
>>
>> Both don't have Python 3 in their name, and correctly so, as both work with
>> both Python2 and Python3. However, for use with Frescobaldi they have to be
>> used with Python3. That is: when installing through the distribution's
>> package manager the packages with python3 in their name have to be used, and
>> when installed with pip pip3 has to be used.
>>
>>
>> I have been trapped in the hamster treadmill finding this does not work,
>> then figuring you have to use the Python 3 versions, and then finding it is
>> short on some modules, and then finding that I just cant get F 3 to work on
>> Ubuntu 17 no matter what I try.
>>
>> Speaking as somebody with a lifetime of experience as a software developer,
>> this is unclear, confusing, and incorrect. And it does not work on Ubuntu
>> 17.
>>
>>
>> This is not true.
>>
>>
>> Urs had success installing F from the Ubuntu repository, but I don't see why
>> we should not aim to be able to install this application stand alone.
>>
>>
>> Actually I have installed Frescobaldi on two computers with freshly
>> installed Ubuntu 17.10. On both computers I installed it from the Git
>> repository (exactly following the instructions on
>> https://github.com/wbsoft/frescobaldi/wiki/Running-Frescobaldi-3-From-Source-Git-(Linux))
>> *and* from the Ubuntu repository.
>> The difference was only the order. When I first installed the frescobaldi
>> package with apt all dependencies were already met so I didn't have to
>> install them separately for the Git repository version.
>>
>> I want an install that is clean, clear, and understandable and manageable,
>> not just a way of making the application run by any means.
>>
>>
>> From my latest experience the install on the Github Wiki page *is* clean,
>> clear, understandable and manageable. It works on Ubuntu 17.10, Debian 9,
>> and Debian 10 without any issues.
>> I agree that the instructions on frescobaldi.org/download are suboptimal.
>> And I have never tried out the approach of downloading a release archive and
>> using setup.py.
>>
>> Urs
>>
>>
>>
>> I still think at this stage there is some unstated dependency on how Qt is
>> installed that I can't fathom.
>>
>> Andrew
>>
>>
>> On 1 January 2018 at 09:16, Tim McNamara <tim...@bitstream.net> wrote:
>>>
>>>
>>> On Dec 31, 2017, at 5:30 AM, bb <bb-543...@telecolumbus.net> wrote:
>>> >
>>> > I think you cannot install different versions of frescobaldi or parallel
>>> > from different sources. You might simply remove the repository version, 
>>> > try
>>> > again and see what happens.
>>> >
>>> > Concerning the description on http://www.frescobaldi.org/download.html
>>> > there are some errors for frescobaldi 3.0.0, the dependency list is
>>> > incomplete and versions are wrongly noted
>>> > one needs Python3-Poppler-Qt5, for me Python-Poppler-Qt5 did not work
>>> > for some reason I argue python3-pyqt5.qtwebkit is neded, that is not on
>>> > the list
>>> > may be more issues?
>>>
>>> Looking at the Frescobaldi install from source page, it 

Re: Next round on frescobaldi dependencies

[Shane Brandes]

I also am unning Frescobaldi 3.0.0 on Ubuntu 17.10. It required a
small amount of finagling. I threw the resulting error which it
iinitially was throwing into google which led to a fix that was doable
through synaptic. It wasn't particularly difficult. It was a matter of
changing some bit of python library i think. Anyway, at the time I
thought it was trivial enough not to write it down. Probably should
have sent it here. It is doable.
 good luck,
Shane

On Sun, Dec 31, 2017 at 9:01 PM, Urs Liska <li...@openlilylib.org> wrote:
>
>
> Am 01.01.2018 um 00:26 schrieb Andrew Bernard:
>
> Hi Tim, The thing about installation instructions is that they have to be
> exact, to save time and hassle. While the page mentions Python 3, it then
> goes to list just Python versions of modules - no suffix 3.
>
>
> There is an ambiguity that really should be clarified. The two custom
> modules that are required are:
>
> https://github.com/wbsoft/python-ly
> https://github.com/wbsoft/python-poppler-qt5
>
> Both don't have Python 3 in their name, and correctly so, as both work with
> both Python2 and Python3. However, for use with Frescobaldi they have to be
> used with Python3. That is: when installing through the distribution's
> package manager the packages with python3 in their name have to be used, and
> when installed with pip pip3 has to be used.
>
>
> I have been trapped in the hamster treadmill finding this does not work,
> then figuring you have to use the Python 3 versions, and then finding it is
> short on some modules, and then finding that I just cant get F 3 to work on
> Ubuntu 17 no matter what I try.
>
> Speaking as somebody with a lifetime of experience as a software developer,
> this is unclear, confusing, and incorrect. And it does not work on Ubuntu
> 17.
>
>
> This is not true.
>
>
> Urs had success installing F from the Ubuntu repository, but I don't see why
> we should not aim to be able to install this application stand alone.
>
>
> Actually I have installed Frescobaldi on two computers with freshly
> installed Ubuntu 17.10. On both computers I installed it from the Git
> repository (exactly following the instructions on
> https://github.com/wbsoft/frescobaldi/wiki/Running-Frescobaldi-3-From-Source-Git-(Linux))
> *and* from the Ubuntu repository.
> The difference was only the order. When I first installed the frescobaldi
> package with apt all dependencies were already met so I didn't have to
> install them separately for the Git repository version.
>
> I want an install that is clean, clear, and understandable and manageable,
> not just a way of making the application run by any means.
>
>
> From my latest experience the install on the Github Wiki page *is* clean,
> clear, understandable and manageable. It works on Ubuntu 17.10, Debian 9,
> and Debian 10 without any issues.
> I agree that the instructions on frescobaldi.org/download are suboptimal.
> And I have never tried out the approach of downloading a release archive and
> using setup.py.
>
> Urs
>
>
>
> I still think at this stage there is some unstated dependency on how Qt is
> installed that I can't fathom.
>
> Andrew
>
>
> On 1 January 2018 at 09:16, Tim McNamara <tim...@bitstream.net> wrote:
>>
>>
>> On Dec 31, 2017, at 5:30 AM, bb <bb-543...@telecolumbus.net> wrote:
>> >
>> > I think you cannot install different versions of frescobaldi or parallel
>> > from different sources. You might simply remove the repository version, try
>> > again and see what happens.
>> >
>> > Concerning the description on http://www.frescobaldi.org/download.html
>> > there are some errors for frescobaldi 3.0.0, the dependency list is
>> > incomplete and versions are wrongly noted
>> > one needs Python3-Poppler-Qt5, for me Python-Poppler-Qt5 did not work
>> > for some reason I argue python3-pyqt5.qtwebkit is neded, that is not on
>> > the list
>> > may be more issues?
>>
>> Looking at the Frescobaldi install from source page, it clearly indicates
>> that the Python stuff should be from the same version (3.4 or higher).  I
>> would hope that following the recipe will result in a working install for
>> you.
>>
>> **
>> Frescobaldi 3 needs Python version 3.4+, PyQt5 and Python-Poppler-Qt5. And
>> of course python-ly and Python-PortMidi, installed for the same Python
>> version.
>>
>> Installation order:
>>
>> • Install Python 3.4 or higher
>> • Install PyQt5, using the same Python version of course.
>> • Install python-ly
>> • Install Frescobaldi (will work, but without

Re: include puzzlement

[Shane Brandes]

Thanks all, and Kieran that pattern will definitely work for future
projects. Unfortunately that leaves me with unwinding, separating the
music from the score definitions,  200 some such files for a current
one to get it to work. I had anticipated that the whole bookpart thing
simply encapsulated that bit of information in its own little section
and would therefore work. That probably has to do with the idea that
some years ago I used to simply copy each piece in line together and
they would merrily create themselves then at some point the code
operating the headers was change such that that no longer worked. I
thought the whole bookpart was added to restore such functionality,
but the underlying mechanism is oddly different and it must be to do
with with who the lilypond does business and since I have learned
anything other than basic and python not much beyond how it functions
not that I could code my way out of a paper bag. So David is probably
right in that I believed that each bookpart had its own scope, however
that is not a programming term I am familiar with.

regards,
Shane

On Fri, Dec 29, 2017 at 2:59 PM, David Kastrup <d...@gnu.org> wrote:
> Shane Brandes <sh...@grayskies.net> writes:
>
>> o.k. back to the include with book part problem. Here is my almost
>> minimal code example, which consists of files a.ly, b.ly and test.ly.
>> The two files compile alone correctly but when stuck in the bookpart
>> they go to pieces.
>
> Sigh.  Your original complaint was:
>
> O.k. having gone in circles trying to figure out the whole bookpart
> apparatus I discovered that the documentations statement that using
> include is the same as copying and pasting the include into a document
> is false if the include consists of a complete lilypond file. Is there
> a way around that?
>
> This has _nothing_ whatsoever to do with \include, it has to do with
> putting complete documents inside of a \bookpart .  Which does not allow
> for assignments, for example.
>
>> % bookpart test.ly
>>
>> \bookpart {\include "a.ly"}
>> \bookpart {\include "b.ly"}
>
> The problem is that bookparts (and books) don't have their own local
> variable scopes so you cannot do local assignments in them.  The
> expectation would be that they don't generally bleed through to outside,
> and indeed your usage pattern sort of demonstrates the expectation of
> such scoping.
>
> Of course, doing the same in Scheme just works in the global scope and
> thus bypasses this consideration anyway.
>
> --
> David Kastrup

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Re: include puzzlement

[Shane Brandes]

wow. o.k. That does mean there is no simple way of maintaining vast
projects via tidy compartmentalization.

Thanks for the clarification.

Shane

On Fri, Dec 29, 2017 at 2:26 PM, Carl Sorensen <c_soren...@byu.edu> wrote:
>
>
> On 12/29/17, 12:17 PM, "Timothy Lanfear" <timo...@lanfear.me> wrote:
>
> A bookpart cannot contain statements like
>
> music = { c'1 }
>
> Yes, this is true.  Variables can only be defined at the top level.  See the 
> Notation Reference 3.1.4
>
> Carl
>
>
>
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Re: include puzzlement

[Shane Brandes]

o.k. back to the include with book part problem. Here is my almost
minimal code example, which consists of files a.ly, b.ly and test.ly.
The two files compile alone correctly but when stuck in the bookpart
they go to pieces. I even tried it running lilypond-book as a tex file
which interestingly yields no page break but otherwise identically
incorrect.

%--- file a.ly
\version "2.17.97"

\header {
  title = "a"

}




righteOne = \relative g' {
\clef "treble"
g8
}


righteTwo = \relative a' {

d2
}

lefteOne = \relative c' {
\clef "bass"
}

lefteTwo =  \relative a, {
\clef "bass"  r2

}


\score {
  \new PianoStaff \with {
instrumentName = "Organ"
  } <<
\new Staff = "right"  << \righteOne \\ \righteTwo >>
\new Staff = "left"  { \clef bass << \lefteOne \\ \lefteTwo >> }
  >>
  \layout { }

}

%--- file b.ly

\version "2.17.97"

\header {

  title = "b"

}


\layout {
  \context {
\Score
\remove "Bar_number_engraver"
  }
}



rightTwo = \relative c'' {


r2
}

rightOne = \relative c'' {

  a2.
}

leftOne = \relative c' {

 a2.
}

leftTwo = \relative c' {


}

pedal = \relative c {

 c4 }

\score {
  <<
\new PianoStaff \with {
  instrumentName = "Organ"
} <<
  \new Staff = "right"  << \rightOne \\ \rightTwo >>
  \new Staff = "left"  { \clef bass << \leftOne \\ \leftTwo >> }
>>
\new Staff = "pedal"{ \clef bass \pedal }
  >>
  \layout { }

}

% bookpart test.ly

\bookpart {\include "a.ly"}
\bookpart {\include "b.ly"}

On Fri, Dec 29, 2017 at 12:37 PM, Shane Brandes <sh...@grayskies.net> wrote:
> Never mind that code does not function. Still trying to reduce the
> full files into minimal examples that both preserve the problem and
> compile correctly independently and then crash when included.
>
> Shane
>
> On Fri, Dec 29, 2017 at 11:05 AM, Shane Brandes <sh...@grayskies.net> wrote:
>> O.k. after reducing things here is the problem that causes the snafu.
>> The independent files to be included all happen to have the same
>> structure where the score is defined and the voices called to a
>> variable. as in the following.
>>
>> altoVoice = \relative c' {
>>
>>   a
>> }
>>
>> \score {
>>   \new Staff \with {
>> instrumentName = "Treble"
>>   } { \altoVoice }
>>
>> so the result is as far as I can tell that after the first file which
>> we can call alto1.ly is included the second one, identical in
>> structure, lets call alto2.ly has called for the same input here when
>> the program looks around for the variable altoVoice it decides there
>> is an unrecognized string. Is there anyway around this bar renaming
>> all these variables into unique indentifiers? That would be possible
>> but definitely a time consuming drag.
>>
>> On Fri, Dec 29, 2017 at 3:20 AM, David Kastrup <d...@gnu.org> wrote:
>>> Shane Brandes <sh...@grayskies.net> writes:
>>>
>>>> O.k. having gone in circles trying to figure out the whole bookpart
>>>> apparatus I discovered that the documentations statement that using
>>>> include is the same as copying and pasting the include into a document
>>>> is false if the include consists of a complete lilypond file.
>>>
>>> Care to show a minimal example?
>>>
>>>> Is there a way around that?
>>>
>>> First one needs to know what your problem is.
>>>
>>> --
>>> David Kastrup

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Re: include puzzlement

[Shane Brandes]

Never mind that code does not function. Still trying to reduce the
full files into minimal examples that both preserve the problem and
compile correctly independently and then crash when included.

Shane

On Fri, Dec 29, 2017 at 11:05 AM, Shane Brandes <sh...@grayskies.net> wrote:
> O.k. after reducing things here is the problem that causes the snafu.
> The independent files to be included all happen to have the same
> structure where the score is defined and the voices called to a
> variable. as in the following.
>
> altoVoice = \relative c' {
>
>   a
> }
>
> \score {
>   \new Staff \with {
> instrumentName = "Treble"
>   } { \altoVoice }
>
> so the result is as far as I can tell that after the first file which
> we can call alto1.ly is included the second one, identical in
> structure, lets call alto2.ly has called for the same input here when
> the program looks around for the variable altoVoice it decides there
> is an unrecognized string. Is there anyway around this bar renaming
> all these variables into unique indentifiers? That would be possible
> but definitely a time consuming drag.
>
> On Fri, Dec 29, 2017 at 3:20 AM, David Kastrup <d...@gnu.org> wrote:
>> Shane Brandes <sh...@grayskies.net> writes:
>>
>>> O.k. having gone in circles trying to figure out the whole bookpart
>>> apparatus I discovered that the documentations statement that using
>>> include is the same as copying and pasting the include into a document
>>> is false if the include consists of a complete lilypond file.
>>
>> Care to show a minimal example?
>>
>>> Is there a way around that?
>>
>> First one needs to know what your problem is.
>>
>> --
>> David Kastrup

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Re: include puzzlement

[Shane Brandes]

O.k. after reducing things here is the problem that causes the snafu.
The independent files to be included all happen to have the same
structure where the score is defined and the voices called to a
variable. as in the following.

altoVoice = \relative c' {

  a
}

\score {
  \new Staff \with {
instrumentName = "Treble"
  } { \altoVoice }

so the result is as far as I can tell that after the first file which
we can call alto1.ly is included the second one, identical in
structure, lets call alto2.ly has called for the same input here when
the program looks around for the variable altoVoice it decides there
is an unrecognized string. Is there anyway around this bar renaming
all these variables into unique indentifiers? That would be possible
but definitely a time consuming drag.

On Fri, Dec 29, 2017 at 3:20 AM, David Kastrup <d...@gnu.org> wrote:
> Shane Brandes <sh...@grayskies.net> writes:
>
>> O.k. having gone in circles trying to figure out the whole bookpart
>> apparatus I discovered that the documentations statement that using
>> include is the same as copying and pasting the include into a document
>> is false if the include consists of a complete lilypond file.
>
> Care to show a minimal example?
>
>> Is there a way around that?
>
> First one needs to know what your problem is.
>
> --
> David Kastrup

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include puzzlement

[Shane Brandes]

O.k. having gone in circles trying to figure out the whole bookpart
apparatus I discovered that the documentations statement that using
include is the same as copying and pasting the include into a document
is false if the include consists of a complete lilypond file. Is there
a way around that?

Shane

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Re: Next round on frescobaldi dependencies

[shane]

I for some reason thought I was using 2.whatever frescobaldi on Ubuntu 17.10 
but it is in fact 3.0. I remember it crashing iniitially but after throwing the 
error into google there was some reasonably simple fix, but going through the 
terminal history hasn't revealed what it was. 
Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: li...@openlilylib.org Date: 12/27/17  
6:50 PM  (GMT-05:00) To: lilypond-user@gnu.org Subject: Re: Next round on 
frescobaldi dependencies 
 

23. Dezember 2017 03:30, "Simon Albrecht" <simon.albre...@mail.de> schrieb:
  Hello everybody,   just to let you know: After gathering from the recent 
thread that the situation with frescobaldi dependencies and conflicting 
versions of python would be easier to handle with Ubuntu 17, I tried getting it 
to work on a pristine 17.10 live system – unsucessfully, with another weird bug 
(?) preventing to build sip from source. Here’s all the details: 
https://github.com/wbsoft/python-poppler-qt5/issues/14#issuecomment-353697574   
Best, Simon  
Hello all,

by chance I just had the opportunity to sit in front of a computer with a 
freshly installed Ubuntu Mate 17.10.
Although LilyPond isn't on the list of things to be installed on that computer 
I couldn't resist ...

I went through the instructions on 
https://github.com/wbsoft/frescobaldi/wiki/Running-Frescobaldi-3-From-Source-Git-(Linux)
 - and to my great surprise I didn't have any issues.

I installed the dependencies with
 sudo apt install git python3-pyqt5 python3-pyqt5.qtsvg python3-poppler-qt5 
python3-pyqt5.qtwebkit

(note that the qtwebkit package was missing from the instructions (and I have 
updated them accordingly))

then cloned the repositories of Frescobaldi and python-ly,
added python-ly to PYTHONPATH

and could immediately invoke Frescobaldi with `python3 path/to/frescobaldi`

including the music view and the SVG viewer.

Just to let everybody know.

Best
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book use

[Shane Brandes]

Greetings everyone,

While trying to further progress in lilypond usage I have found
another puzzle. While trying to use \book and \bookpart there seems to
be a significant, at least to me, problem. If I make a .ly file with a
simple include the include or multiple includes the score or scores
compile corrrectly although multiple headers don't work. Which is why
I am trying to use the book process. The result of the attempt creates
a document that has the headers correctly placed but the score is not.
The score ends up have the pedal line printed and then an empty
grandstaff printed that spans the page.
 In another much smaller project than this one I managed to get the
whole \book thing to work but without using include. However, the
scale of the project, around 200 files, intended would make
reorganizing these scores into a single .ly file unpleasantly
unmanageable.

regards,
Shane Brandes

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Re: "\includepdf" in LilyPond

[Shane Brandes]

Hi Urs,

I use lilypond to compile the pdfs and then add whatever pdf material
required and then use a concatenate function  to join them the only
downside is working out index pages which is no elegant.

regards,
Shane

On Mon, Dec 18, 2017 at 11:13 AM, Jan-Peter Voigt <jp.vo...@gmx.de> wrote:
> Hi Urs,
>
> I include xelatex texts by converting each page of the resulting PDF into an
> EPS-file. Those EPS-files are then included in a markup-list to allow
> page-breaking. The XeTeX-source is created with zero-margins dimensions
> fitting into the available space. But if you want to include pages it should
> be possible inside a bookpart with zero-margins.
>
> The question is if the LaTeX way is easier in the end.
>
> I use this for including preface texts of up to three pages and a book full
> of LilyPond scores.
>
> Jan-Peter
>
>
> Am 18.12.2017 um 16:31 schrieb Urs Liska:
>>
>> Hi all,
>>
>> would it be possible (or did anyone already do something like this) to
>> include whole PDF pages between bookparts?
>>
>> I'm thinking of a way to combine title pages and/or prefattory matter with
>> scores and use LaTeX to create the text parts but do it from the LilyPond
>> compilation.
>>
>> In the infrastructure I'd want to do that I'm creating the bookparts
>> manually, i.e. not thorugh top-level \bookpart {} but thorugh
>> ly:book-add-bookpart! and similar functions, so I might have better control
>> over the process than with "simple" LilyPond files.
>>
>> Any ideas?
>> Or should I simply step back and do it from the LaTeX side of things?
>>
>> Best
>> Urs
>>
>>
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>
>
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Re: Lilypond transposition newbie.

[shane]

\transpose x y { music notes c4 es etc. etc. } 
Fairly easy but sometimes things are not necessarily obvious after staring at 
it too long.
Good luck,
Shane


Sent from my T-Mobile 4G LTE Device
 Original message From: Brian Durant <globetrotte...@gmail.com> 
Date: 12/13/17  3:11 PM  (GMT-05:00) To: lilypond-user@gnu.org Subject: 
Lilypond transposition newbie. 
Hi. I am giving Lilypond another chance after having been away for some 
time. I am using Frescobaldi and have copied some sheet music for a C 
instrument, in my case a C Melody saxophone. Now I would like to take 
this Lilypond file and transpose it for a Tenor saxophone. I have 
replaced everything to do with a C Melody saxophone, with Tenor sax 
info. However, the notes are of course the same, as for the C Mel and 
need to be transposed. I have looked through the Lilypond documentation, 
as well as the archive for this e-mail list, but I still am unsure what 
I need to do. I believe that it has something to do with the \transpose 
function but am unsure how to get this to work as a Tenor saxophone is a 
transposing instrument already, but nothing has changed when I changed 
instrument type. The original key for the song (for a C instrument) is A 
Major, and I know that for a Tenor saxophone, this needs to be changed 
to the key of B Major. If the \transpose function works as I think it 
does, then I apparently should add a "\transpose a b" someplace, but no 
matter where I add this, nothing changes.

I have posted a dump of the Lilypond file that I am working on here:
http://lilybin.com/hfoy4g/1



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Re: Auto-transposition

[Shane Brandes]

Frescobaldi has a neat little tool to convert from relative to
absolute pitch. I prefer relative as a pitch entry for ease and speed.
Kieran is correct relative pitch entry can cause headaches if you
start doing manipulations on stuff.

regards,
Shane

On Tue, Dec 12, 2017 at 5:48 PM, David Wright <lily...@lionunicorn.co.uk> wrote:
> On Tue 12 Dec 2017 at 20:32:34 (+0100), Simon Albrecht wrote:
>> On 12.12.2017 20:30, Shevek wrote:
>> >The alternative is to use \relative {} but to use \resetRelativeOctave
>> >religiously before every phrase, even the first one in a block. I find that
>> >more natural for composing, personally.
>>
>> I find that this has the disadvantage of not checking the notes
>> immediately preceding it for octave displacements.
>
> Well, nothing checks every note except checking every note.
>
> But for a composer in the heat of inspiration (!),
> \resetRelativeOctave might allow one to work on a later
> section even though previous sections have not yet been
> fully corrected for octavation.
>
> Cheers,
> David.
>
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Re: Unwanted spacing in text

[shane]

It could in some circumstances be poor spacing in the font itself. Is there a 
tracking work around for such circumstances?
-Shane Brandes


Sent from my T-Mobile 4G LTE Device
 Original message From: David Kastrup <d...@gnu.org> Date: 
11/12/17  9:44 AM  (GMT-05:00) To: William Zeitler <will...@williamzeitler.com> 
Cc: lilypond-user@gnu.org Subject: Re: Unwanted spacing in text 
William Zeitler <will...@williamzeitler.com> writes:

> For a title I want the Latin word "Aenigma", using a unicode character
> for the initial "AE" ligature. It works fine except for an unsightly
> space between the "AE" character and the subsequent plain text. How do
> I fix this?
>
> Thanks!
>
> william zeitler
>
> ---
>
> \version "2.18.2"
>
> \header {
>   title = \markup { \char ##x00c6 "nigma" }
> }

Rather title = \markup \concat { \char ##x00c6 nigma }

or simply  title = "Ænigma"

-- 
David Kastrup

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Re: Fwd: Re: Parallel Square Premusic

[Shane Brandes]

To bold clams clamming up! I really don't see the relevance to our concern
here. Let us give him a rest or a few for good measure.

regards,
Shane


On Wed, Mar 22, 2017 at 4:51 PM, Michael Gerdau <m...@qata.de> wrote:

> Hi Vac, list!
> > What's hard to follow? Please, critique my format verbosely. When you see
> >
> > []rh  --dadada||daaa||--dadada||daaa
>
> I immediately have several different ideas as to how that could mean
> something.
>
> Most of your examples I find difficult to understand, mostly because I
> have no way to really know what you mean by what - I can guess and
> possibly do so correctly but in the end I would need a definition of you
> format/language/coding scheme.
>
> Do you have something like that that you can share with this list?
>
> [lots of ranting snipped]
>
> > Has anyone given me any sheet music to rescore that I haven't been able
> > to score yet? Has anyone given me any part of music that cannot be
> > accounted for by parallel squares with little imagination?
>
> I honestly can't judge that.
>
> What I've seen is whenever you were given some music you returned with
> some stuff that you claimed to be an exact replication of the music.
>
> I would need a formal description of your coding scheme to verify myself
> that your representation is what you claim it to be.
>
> Besides:
> if anyone were to write software to e.g. typeset your stuff such a
> description would be the first thing required anyway.
>
> Are you able and willing to provide that?
>
> Kind regards,
> Michael
> --
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>  GPG-keys available on request or at public keyserver
>
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Re: New LilyPond website

[Shane Brandes]

The opening page is over 50% header vertically. The rest of the pages seem
decently proportioned. The 1px grey lines around the music examples might
be nicer not present at all.
Did I ever mention how much sans serif in block text is irritating. Yes I
was going to make a suggestion for a nice newer serif font, but I can't for
the life of me remember what it is.

Shane

On Wed, Feb 8, 2017 at 8:02 PM, John Roper <johnroper...@gmail.com> wrote:

> Ok, I changed the image to something that made more sense. What do you
> guys think about everything else?
>
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Re: New LilyPond website

[Shane Brandes]

I think John has accomplished a lot of useful things. Chiefly exposing
to the rest of the community the nontrivial nature of maintenance for
the LilyPond website. He also has demonstrated that we appreciate
useful progress or improvement but also are clearly interested in why
that should constitute such.

On Sun, Dec 11, 2016 at 4:35 PM, John Roper  wrote:
>>> Why this unwarranted hostility?
> ?
>
>>And my view is, if
>> you refuse to use JavaScript, or try to run a defunct browser, that's your
>> problem.
>
> That is my view too. I understand about your blind users, but you can
> view a javascript-enabled website with a text website. It is possible.
>
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Re: New LilyPond website

[Shane Brandes]

I gave John yesterday the opportunity to defend his choice of sans
serif font in a private email. Now that that box has been opened
publicly I will comment. Sans versus Serif is an annoying discussion
both styles have their place. Sans has been around 200 years and serif
fonts since 1465. The argument about screen resolution versus paper,
is rapidly becoming irrelevant with advances in screen technology.
Therefore there only remains the argument of legibility. Either can of
course be extremely legible, but in terms of reading speed in longer
bits of text I really believe the argument that the serifs do allow
the eye to flow between letters better and ultimately give the mind a
much more precise evaluation of what the letter form in question is.
As a subvocalization reader it becomes annoyingly obvious to me when I
am reading sans fonts as it forces me back down to much slower speeds
where I often find myself reading aloud in my head. Although I expect
people that grew up during the depression drinking ersatz coffee might
not enjoy the complexities of the real thing. It might be the fixation
with sans fonts are also the remnants of fadish rebellion to the
establishment left over from the post WWII era. Anyway, given the fact
that Lilypond is trying to give the user the best possible music
printing, it is my belief that the choice of typography should reflect
that as a well and not give off the scent of our current throwaway
society. Yep much stronger opinions on that than I initially thought.
So feel free to disagree.

regards,
Shane Brandes


On Wed, Nov 30, 2016 at 8:29 AM, Andrew Bernard
<andrew.bern...@gmail.com> wrote:
> Not at all - I am merely pointing out that a very significant website with a
> very large international readership uses a serif font for headings and text,
> as a counter example. I myself made no argument for either type of face one
> way or the other.
>
>
> Andrew
>
>
> On 1 December 2016 at 00:20, David Kastrup <d...@gnu.org> wrote:
>>
>>
>>
>> > Are you going to dictate to The New York Times, for example, that they
>> > convert their serif to sans?
>>
>> You appear to be a person of very fixed opinions...
>>
>
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Re: New LilyPond website

[Shane Brandes]

It is possible to have a font embedded into the website server side
via css which makes the default font argument null. This is not at all
difficult to achieve and I routinely rely on it to demonstrate fonts
on my website.


On Wed, Nov 30, 2016 at 7:35 AM, John Roper  wrote:
> I can make the links in the footer brighter and I will look into other fonts
> to use. Arial is the default font  for many websites and it is the fallback
> font for most web browsers.
>
>
> On Nov 30, 2016 7:30 AM, "Werner LEMBERG"  wrote:
>>
>>
>> >>> One of the major things on the site that make it look antiquated
>> >>> is the LilyPond intro using the text that looks like it came from
>> >>> a server error message.
>> >>
>> >> LOL
>> >
>> > Concise, readable, informative: must be an error.
>>
>> Hehe.  It's very annoying to me that so many sites use extremely thin,
>> gray non-serif fonts!  Designers might me delighted, but such text is
>> *extremely* hard to read on an LCD if the viewing angle is not exactly
>> orthogonal to the LCD plane.
>>
>> Note that I don't insist on a serif script, but the selection of a
>> proper non-serif script is delicate.  In particular, Arial is *very*
>> bad.  We need one where `l' and `I' look distinct.
>>
>> John, here's another minor issue: The white commata between `Català',
>> `Česky', etc. look bad.  I can imagine to replace them with middle
>> dots, without a final stop.  And what about making those dark-gray
>> link entries also a bit brighter?
>>
>>
>> Werner
>
>
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Re: New LilyPond website

[Shane Brandes]

It was exciting to see such an ambitious model proposed for the
website, however in addition to previous issues raised about
accessibility etc. I would like to give you my initial impression. You
may take my commentary as you see fit.
   I am the sort of fellow that when looking in the beer aisle it is
the Bitburger or Sam Adams I tend to notice first because they have
words and not fancy paintings, and therefore immediately
understandable information. That is not to say other beers might not
be good, but relying on visual hook does not help especially when
every other bottle has the same swirl of colors. In the proposed
website I see nothing at all that interests, except an odd button that
says learn more. One should already have some inkling of what the
program offers as soon as you land on the website. We are still living
uncomfortably with the notion that because ultimately websites are
text based and are therefore some how books which need dust covers.
While a great deal can be learned from the humble book, the
transmitter of knowledge for hundreds of years and one should clearly
not overlook such lessons of organization and layout that can be
learned from them one must also be cognizant of the lesson of the
medium itself that they gave us. For example books from the incunabula
period are still safely handleable while many 19th century editions
are in perilous shape due to their extremely acidic paper. With web
design, it might be the case that such scripting might be the
equivalent of such unstable paper. So that being said the current
website is pretty solid, but if think people really need more
flashiness to it let it not be to the detriment of ease of use or
understanding.
   In the usage of images, it is quite clear and been amply
demonstrated that pictures are worth a thousand words, but you must
carefully consider what those words are you are conveying. The more
cynical side of me sees the opening picture and thinks oh a thing that
is for short sighted people. The glasses give the idea of something
that requires intense examination.
  One humorous thing is the TEXT INPUT section. It states it is as
easy as ABC. ABC happens to be another music typesetting program.
Anyway, a great example of why some additional eyes are always a
useful thing for any project.
  So please do not take this as slamming your efforts as it is not, it
is just to say there are a lot of people here who have invested a lot
of personal effort in keeping things running here, I am not one of
them, but it may be well worth the effort going forward to extract
knowledge from them. And I hope you stick with this wonderful program
and its users and developers it is always good to have fresh insights
and energy.

kind regards,
Shane Brandes



On Tue, Nov 29, 2016 at 10:08 AM, Karlin High <gne...@hotmail.com> wrote:
> On 11/29/2016 4:47 AM, Urs Liska wrote:
>> But I would much more like to see it created by a static site generator, in 
>> a system where the content can be managed as a Git repository.
>
> I did a Google serach for "texinfo website generator." Here's one that
> reminds me of the LilyPond way of doing things.
>
> HAUNT:
> https://haunt.dthompson.us/
> "Haunt is a hackable static site generator written in Guile Scheme...
> Websites written in Haunt are described as purely functional programs
> that accept “posts”, text documents containing arbitrary metadata, as
> input and transform them into complete HTML pages using Scheme
> procedures. Haunt has no opinion about what markup language authors
> should use to write their posts and will happily work with any format
> for which a “reader” procedure exists."
>
> Looks like there's a "reader" for texinfo.
> https://haunt.dthompson.us/haunt-02-released.html
> --
> Karlin High
> Missouri, USA
>
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Re: general question for composers

[Shane Brandes]

It varies from project to project. Sometimes direct entry while
composing to full pencil scribbles, generally incomprehensible to
anyone else, but nonetheless complete. Some stuff just gets sketched
out broadly and then finished while doing the data entry as the
overall structure has been defined. The bigger the piece the more
likely it will be done in handwriting first. As has been noted unless
you are careful massive edits can be irritating to accomplish.
Generally keyboard pieces with occasional choral or orchestral things
tossed in for total abstract effort.

Shane Brandes

On Sun, Nov 20, 2016 at 9:29 AM, David Bellows <davebell...@gmail.com> wrote:
> I'm a composer in the classical tradition. Sheet music is everything.
> And I compose directly into Lilypond. I don't have access to any
> instruments and don't want to lug around manuscript paper. I also
> don't want to spend time writing all the music out by hand and then
> writing it out *again* in Lilypond. Just do it once (plus all the
> editing, of course). It's just me and my laptop and Lilypond (and a
> few other things but you get the idea).
>
> On Sat, Nov 19, 2016 at 9:37 PM, Vaughan McAlley <vaug...@mcalley.net.au> 
> wrote:
>> On 19 Nov 2016 8:20 a.m., "Tobin Chodos" <tobin.cho...@gmail.com> wrote:
>>>
>>> hi all,
>>>
>>> this is a general question for composers using lilypond.  at what point in
>>> your process do you generally start engraving?  Like most composers coming
>>> from the consumer notation softwares, I'm accustomed to working in pencil
>>> first, but not to completely separating the engraving and composition tasks.
>>> Curious about composer perspectives about this with lilypond.  are there
>>> strategies for working with a lilypond file while still composing?
>>>
>>> Thanks.
>>>
>>> Tobin
>>>
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>>
>> Like the others, I prefer to keep composing and typesetting separate.
>> Composing is (or should be) too difficult to be simultaneously wrestling
>> with any technology more complicated than a pencil (and maybe a piano).
>> Occasionally like Trevor i will print out a cantus firmus with blank staves,
>> mainly because of thinks are in canon, cf mistakes are difficult to fix!
>>
>> Listening to MIDI is essential for proofing. So many scores on the internet
>> have errors that one listen-through would pick up. I have a script that
>> finds consecutives. But in the end, once I have found the errors, I'll fix
>> them on paper, partly because it can be done away from the computer.
>>
>> Vaughan
>>
>>
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Re: Typesetting "as near to Petrucci style as possible".

[Shane Brandes]

Did you mean a 16th century font?

On Fri, Oct 7, 2016 at 7:06 AM, Richard Shann  wrote:
> On Fri, 2016-10-07 at 10:52 +0100, Richard Shann wrote:
>> On Fri, 2016-10-07 at 10:37 +0100, Phil Holmes wrote:
>> > > seems identical with or without MultiMeasureRest.style =
>> > #'neomensural
>> > > and indeed with  MultiMeasureRest.style = ##f too.
>> > >
>> > >
>> > > Richard
>> >
>> >
>> > Have you considered using r1 instead of R1?
>
> For this music, where there are bar lines, r1 does not center the whole
> measure rest. I've come up with the following workaround:
>
> \version "2.19.43"
>
>  {
> \clef mensural-g
> \set Staff.clefPosition = #-4
> \set Staff.middleCPosition = #-8
> \set Staff.middleCClefPosition = #-8
> \override Flag.style = #'mensural
> \override NoteHead.style = #'petrucci
> \override Rest.style = #'neomensural
> \override MultiMeasureRest.style = #'neomensural
> \key g \major\time 6/4
> r1*6/4
> \hide R1*6/4 -\tweak #'extra-offset #'(0 . -2.1)^\markup {\musicglyph 
> #"rests.0neomensural"}
> c''2. \once\override Dots.dot-count = #0
> r2. c''2
>  }
>
> I wonder if there is something neater? Can I tell LilyPond to use
> rests.0neomensural instead of the glyph it does use (rests.0 ?)
>
> Richard
>
>
>
>>   I don't know the era of
>> > the
>> > music you're aiming for, but certainly up to 1600 there was no concept
>> > of a
>> > multimeasure rest, since there was no measure.
>>
>> Well, the Rebel is as late as 1712, and does have multi-measure rests
>> (it's printed as separate parts)
>> https://imslp.org/wiki/Special:ImagefromIndex/345846
>>
>> I'm not sure what period the originator of this query was interested in
>> - very likely earlier, this print using moveable type was old-fashioned
>> at the time. But I thought it might illustrate LilyPond's flexibility to
>> generate both a modern and a (somewhat) early version from the same
>> Denemo input. I think it is quite impressive, but there are some style
>> clashes in there.
>>
>> Richard
>>
>>
>>
>>
>>
>>
>>
>>
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Re: Editorial accidentals in figured bass

[Shane Brandes]

A possible method by Andrew Cashner on Stack overflow. Probably a
better method out there but this may suffice.


\version "2.18.2"
{
\clef "bass"
<<
 { c2 c2 }
 \figures { < [6- ]>2
<
\markup \fontsize #-1 \concat {
\raise #0.2 {
[
\fontsize #-3.5 {\raise #0.2 {\flat}}
]
}
{\number 6}
}
>2
}
>>
}

On Fri, Jul 29, 2016 at 2:57 AM, Robert Blackstone
 wrote:
> Dear all,
>
> I've seen in the documentattion that it is possible to put figure+accidental 
> pairs between brackets, like this [#3] .
> Now in some examples I need [#]3.
> Is there a way to do this?
>
> Thanks in advance for any help.
>
> Best regards,
> Robert Blackstone
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Re: \caps with Umlaut

[Shane Brandes]

While I use Frescobaldi, I was speaking as someone that has built a
few score of fonts for sale, knowing there is often a larger gap
between what is possible and what was likely done.

On Wed, Jul 20, 2016 at 7:06 PM, Mark Stephen Mrotek
<carsonm...@ca.rr.com> wrote:
> Shane,
>
> If you are using Frescobaldi, you could not use \caps and access the special 
> characters.
>
> Mark
>
> -Original Message-
> From: lilypond-user 
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
> Shane Brandes
> Sent: Wednesday, July 20, 2016 2:53 PM
> To: Jonathan Scholbach <j.scholb...@posteo.de>
> Cc: LilyPond User Group <lilypond-user@gnu.org>
> Subject: Re: \caps with Umlaut
>
> Small caps are a subset of a font, it is pretty rare to have small caps 
> worked out beyond the standard 26. This because they did not exist in Unicode 
> as a defined glyph. Unicode is still only has 24 small caps defined. Your 
> best bet is to try the Bold smaller size trick and see if that works.
>
> Shane Brandes
>
> On Wed, Jul 20, 2016 at 5:01 PM, Jonathan Scholbach <j.scholb...@posteo.de> 
> wrote:
>> Dear ponders,
>>
>> I am using \caps in a \markup which prints the name of the composer.
>> After having set a couple of pieces today it's the first time the
>> composer's name contains an umlaut (in this case an ä). And that was
>> when I found out, that \caps, as well as \smallCaps, "does not support
>> accented character" (quoted from
>> http://lilypond.org/doc/v2.19/Documentation/notation/font) - the ä -
>> is printed as a lowercase letter.
>>
>> The ME is:
>>
>> \version "2.19.22"
>>
>> \markup{ \caps Bartholomäus }
>>
>> How can I solve this problem? I mean, how can I achieve that \caps
>> works properly with umlauts and uses the uppercase umlaut?
>>
>> Your advice is very much appreciated,
>>
>> Jonathan
>>
>>
>>
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Re: \caps with Umlaut

[Shane Brandes]

Small caps are a subset of a font, it is pretty rare to have small
caps worked out beyond the standard 26. This because they did not
exist in Unicode as a defined glyph. Unicode is still only has 24
small caps defined. Your best bet is to try the Bold smaller size
trick and see if that works.

Shane Brandes

On Wed, Jul 20, 2016 at 5:01 PM, Jonathan Scholbach
<j.scholb...@posteo.de> wrote:
> Dear ponders,
>
> I am using \caps in a \markup which prints the name of the composer.
> After having set a couple of pieces today it's the first time the
> composer's name contains an umlaut (in this case an ä). And that was
> when I found out, that \caps, as well as \smallCaps, "does not support
> accented character" (quoted from
> http://lilypond.org/doc/v2.19/Documentation/notation/font) - the ä - is
> printed as a lowercase letter.
>
> The ME is:
>
> \version "2.19.22"
>
> \markup{ \caps Bartholomäus }
>
> How can I solve this problem? I mean, how can I achieve that \caps works
> properly with umlauts and uses the uppercase umlaut?
>
> Your advice is very much appreciated,
>
> Jonathan
>
>
>
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Re: OT: high-precision tuner app

[Shane Brandes]

A440 was made an ISO standard in 1955. Bands (orchestral) still
routinely ignore it. The pitch was raised especially during the late
19th century  partially due to the ability of pianos to withstand
greater string tension which gave the ability to produce louder sound
to cover larger and larger concert halls. Even in the earlier period
of the Baroque organs tended to be pitched high and then small organs
were used tuned in kammerton (chamber tone) with a lower pitch to
accommodate vocal music. Absolutely fascinating stuff but bizarre all
the considerations that affect pitch over time.

Shane

On Wed, May 25, 2016 at 2:11 PM, Johan Vromans <jvrom...@squirrel.nl> wrote:
> On Wed, 25 May 2016 17:38:55 +0100
> Wols Lists <antli...@youngman.org.uk> wrote:
>
>> Maybe I didn't word it very well. Take a Baroque part, written for eg
>> A=400, and try and sing it at the modern A=440 without transposing it.
>>
>> Painful ... in other words the pitch has risen but, obviously, our
>> voices haven't risen with it.
>
> Well maybe I did not word it correctly. I understood "the original pitch"
> to mean the original pitch (A=400Hz) so it would be sung lower than when
> using the current convention (A=440Hz).
>
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Seeking a Set of Eyes

[Shane Dittmar]

Hello,

My name is Shane w. Dittmar, and I am a blind composer from North
Carolina. I've recently gotten into Lilypond, as it's a fantastic tool
for blind composers, as it gives ultimate and accessible control over
what appears on the page. I write what is, by notation standards,
fairly simple music, most of which is vocal, either choral or
artsongs. While Lilypond's default output seems to be working pretty
well, I'd love to have the opportunity to have my scores look as
publication-ready as possible... especially for the ones I plan to
publish. To that end, I'm seeking someone familiar with Lilypond who
might be willing to take a look at my scores and help me to correct
the finer visual elements, if any such correction is necessary. I'd be
happy to compensate this person for their time doing what would in
effect be final engraving work on my scores. Is there anyone who might
be interested in helping me out?

Shane

-- 
Shane Dittmar
http://www.shanedittmar.com/
(919) 410-8498

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Re: grace notes MIDI playback

[Shane Brandes]

Classical era Grace notes are taken out of the following note at their
full temporal value, unless flagged then they come before the beat.
Generally the most important thing is that in both classical era and
baroque music the value of the graces are an equal subdivision of the
tone so graced. Somewhere in the Romantic era that habit must have
gotten lost. It was always amusing to see students coming in
unprepared for the wrath that resulted in messing that little facet
up. Most amusing ever was the fellow who came in to teach a master
class and tried to "correct" some mordents in a slow movement in a
Bach partita. They were executed perfectly and the poor girl being
"corrected" was totally perplexed. So he finally sat down at the piano
and gave an example. The girl carefully explained to his chagrin how
they needed to be properly subdivided.


On Thu, Dec 3, 2015 at 3:18 PM, Gilberto Agostinho
 wrote:
> David Wright wrote
>> That's not true for all appoggiaturas of that era, is it?
>
> Well, with old music it's always tricky to find rules for these type of
> things, and to cater our MIDI output around it will lead to madness IMO. But
> I'd say it's quite safe to assume the meaning of contemporary appoggiaturas
> (this problem is similar to the accacciaturaL the modern is to be played as
> short as possible on the beat, but in old music this will vary wildly).
>
>
>> [they] suspends the principal note by taking away the time-value of the
>> appoggiatura prefixed to it
>
> From: https://en.wikipedia.org/wiki/Ornament_%28music%29#Appoggiatura
>
> For some of the old rules, see pp. 43--46 from
> https://books.google.cz/books?id=TMdf1SioFk4C=PA44=appoggiatura=en=X_esc=y#v=onepage=appoggiatura=false
>
>
>
>
>
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/grace-notes-MIDI-playback-tp184215p184435.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: Confused about output

[Shane Brandes]

Thanks Malte,

That saves me from having to restructure the piece.

Shane

On Wed, Nov 25, 2015 at 2:10 AM, Malte Meyn <lilyp...@maltemeyn.de> wrote:
>
>
> Am 25.11.2015 um 02:19 schrieb Shane Brandes:
>>
>> After fiddling with this for hours i cannot figure out why the added
>> lyrics e and i drop below the bass as opposed to the voices they ought
>> to be associated with which is here "melody" and "mel" that live on
>> the soprano staff. What am I missing?
>
>
> You can use alignBelowContext. I must admit I didn’t really overlook your
> code structure so I didn’t use any variables. But it should be possible with
> your code structure too.
>
> \version "2.18.2"
>
> \score {
>   <<
> \new Staff \with {
>   instrumentName = "Soprano"
> } \new Voice = "soprano_v1" {
>   a2
>   <<
> c'
> \new Voice {
>   \voiceTwo a
> }
> \new Lyrics \with {
>   alignBelowContext = "soprano_l1"
> } \lyricmode {
>   i
> }
>   >>
> }
> \new Lyrics = "soprano_l1" \lyricsto "soprano_v1" {
>   a e
> }
> \new Staff \with {
>   instrumentName = "Bass"
> } \relative {
>   \clef bass
>   f e
> }
> \addlyrics {
>   o u
> }
>   >>
> }
>
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Confused about output

[Shane Brandes]

After fiddling with this for hours i cannot figure out why the added
lyrics e and i drop below the bass as opposed to the voices they ought
to be associated with which is here "melody" and "mel" that live on
the soprano staff. What am I missing?

\version "2.18.2"

sopranoVoice =  {
  a2 <<
  \context Voice = melody \relative {
   c'
  }
   \new Lyrics { \set associatedVoice  = #"melody" \lyricmode {
   e }
  }<<
  \new Voice = "mel" \relative {
\stemDowna2
  }
  \new Lyrics \lyricsto "mel" {\set associatedVoice  = #"mel"
  i
  }
>>
>>
}

verseSopranoVoice = \lyricmode {
  a }

bassVoice = \relative c {
  f e
}

versebassVoice = \lyricmode {
 o u
}

sopranoVoicePart = \new Staff \with {
  instrumentName = "Soprano"

} { \sopranoVoice }
\addlyrics { \verseSopranoVoice }

bassVoicePart = \new Staff \with {
  instrumentName = "Bass"

} { \clef "bass"\bassVoice }
\addlyrics { \versebassVoice }

\score {
  <<
\sopranoVoicePart
\bassVoicePart
  >>
  \layout { }

}


regards,
Shane

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Re: OT: Beauty of programming languages

[Shane Brandes]

41, organist,  composer frequently for the church, sometimes
commissioned works for special occasions and sometimes for self
amusement. I use LilyPond to set the above, and sometimes to typeset
stuff that has survived the ravages of time poorly causing the desire
to have a cleaner score to work from. Use Frescobaldi as a front end
as the error parser is invaluable. And yes I occasionally compose
directly into LilyPond format when pen and paper is a waste of time.


Shane


On Fri, Sep 11, 2015 at 8:32 AM, Wols Lists <antli...@youngman.org.uk> wrote:
> On 10/09/15 19:59, Tim Reeves wrote:
>> Age: 49
>> Amateur hornist.
>> Typesetting of existing parts, occasionally creating simple exercises,
>> fingering charts, etc. Not a regular user, but like to keep up on
>> development.
>> I use Frescobaldi every time for some time now, and I've been using LP
>> for roughly eight years.
>>
> Age: fifty-something.
> Amateur trombonist
> Typesetting and transposing of parts (I mostly play bass clef but can
> read treble, but some fellow players only play one or the other, so the
> band needs parts in both, and then of course some parts come in tenor
> clef :-)
> I use a basic editor (kate, pfe, notepad).
> I've been using lily since 2.4 and have made the odd contribution.
>
> Cheers,
> Wol
>
>
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