Re: Creating combined manuscript/ruled paper

[tyronicus]

> I'm attempting to use LilyPond to create sheets with blank staves on the 
> left half of the page and college-ruled paper (equidistant lines spaced 
> by 9/32in, or 7.1mm, apart) on the right. 
... 
> How might I go about doing something like this? 

You could use a weird score to do the notes side too.

This is what I could come up with in a couple minutes. Of course you'd
probably want thinner lines and no starting barline (I don't know why that's
appearing). And you'd want more music staves. But you could use this as a
starting point.

%%
\version "2.19.48" 

\markup { 
   \override #'(span-factor . 31/64) 
   \fill-line { 
 \column { Left 
   \score { \repeat unfold 4 { s1 \break } 
 \layout { 
   indent = 0 ragged-right = ##f line-width = 3.6\in 
   \context { \Score 
 \omit Clef \omit TimeSignature \omit BarNumber \omit BarLine 
   } 
 } 
   } 
 } 
 \column { Right 
   \score { s1 
 \layout { 
   indent = 0 ragged-right = ##f line-width = 3.6\in 
   \context { \Score 
 \omit Clef \omit TimeSignature \omit BarNumber \omit BarLine 
   }
   \override Staff.StaffSymbol.line-count = #38
   #(layout-set-staff-size 81)
 } 
   }
 } 
   } 
} 




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Re: Fwd: Compile crashing... help!

[tyronicus]

Phil Holmes wrote
> My guess is that there's a memory allocation problem that only shows up on
> large projects on Windows.

That's my suspicion, too. I tried it on a Win10 i7-8xxx with 8G ram and saw
it cut out around 1.85G memory every time. When I remove two bookparts, it
only uses 1.82G of memory or so and manages to complete. When I set the
process to high or realtime priority, which should allow more memory to be
allocated, it still fails.



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Re: LilyPond can't engrave 16 pages of music

[tyronicus]

SoundsFromSound wrote
> What are your system specs? I can compile the file on my Linux Mint x64 
> laptop with 16GB of RAM, rockin' an 8th gen i7 but it took about 10 
> minutes almost. That seems very very slow.
> 
> Did you experience the same wait times?

Not Harm obviously but here's my data:

CPU: i5-5200u (2-core, 4-thread mobile processor)
Ram: 8gb
Ubuntu 18.10 64-bit
LilyPond 2.19.80
Page count: 25
LP-reported compile time: 3'57"
Second run: 3'13"



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Lyric alignment question

[tyronicus]

Hi list members,


Lily naturally spaces measures beautifully when there are no lyrics, but
when lyrics are added, she gets thrown off quite a bit. There have been
several discussions about that already on the list.

Is there a way to have Lily act as if syllables have no width?

What I would like to do is to see the output with Lily's typical spacing and
then manually move problematic syllables. This would be a mess at first, but
I feel it might be helpful for me in the long run.

I took a look in the internals reference but wasn't sure if there was a
straightforward to tell Lily that syllables have a width of 0.


Thanks in advance,
Sam



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Re: Text fonts

[tyronicus]

I have no idea what I'm doing (just downloaded FontForge for the first time),
but I tried some more relaxed settings and was really happy with the output.

Vollkorn-Compressed2.otf
  

lipsum.pdf   



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Re: Text fonts

[tyronicus]

90% for counters and 80% for side bearings. I felt like the letters were
spaced too widely when I kept the side bearings at 90%.



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Re: Problems / questions around a choir partition

[tyronicus]

For your first question, I would try top-markup-spacing and
markup-system-spacing. Check out this beautiful guide by Abraham Lee (?): 
verticalspacing.pdf
  
They are flexible variables, so try #'padding.





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Re: ScholarLY - introduction and call for collaboration

[tyronicus]

I am all in favor of the collaboration, but I wonder if I might
pessimistically ask why we use so many discrete projects and repositories.

It seems to me that we could accomplish much more by using one git project
instead of having openlilylib, the LSR, and our newest projects, ScholarLY
and GASP. On top of all these projects, I've noticed that a few LP users
have their own repos of snippets and tools.

Wouldn't the beginning to intermediate user of LilyPond be benefited by the
ability to find all of these resources under one roof? Even the advanced
user might more willingly contribute to the various projects if they were
all right there in front of him/her.

Assuming it is an idea of the different projects having separate 'missions,'
why not broaden our horizons?

I hope I haven't angered anyone who fills differently than I do. These are
just the thoughts of an admitted beginner.



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Re: ScholarLY - introduction and call for collaboration

[tyronicus]

I must immediately excuse myself for not reading the blog post first and
seeing that ScholarLY is a part of openlilylib. But I still wonder about the
rest.



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Re: vim is very very slow to open and modify lilypond files

[tyronicus]

I haven't had this issue on Arch with Vim 7.4.617-1.

P.S. --  One of my favorite things about vim+lilypond is auto-compiling on
write:
au BufWritePost *.ly !lilypond %



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Re: book parts and page breaks

[tyronicus]

Francesco Petrogalli wrote
> As I said, I'd like to avoid the page break between 'sections'.

Francesco,

Have you considered modifying the \header format for scores? If I were in
your situation, I might try modifying scoreTitleMarkup to look the way I
wanted. There are some examples at 
http://lilypond.org/doc/v2.18/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-titles

 
.



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Re: book parts and page breaks

[tyronicus]

Francesco Petrogalli wrote
> Well, the problem with such modification is that I don't know how to
> place multiple exercises in the same score.
> If I place multiple staves in a score, they get rendered together in
> the same system.

You could put the title on just the first score of each section like this:
http://lilybin.com/o9nntl/2   



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Re: Full header on every page & vertically centered staves?

[tyronicus]

I think you could do this pretty easily by adding this to your \paper block:

  oddHeaderMarkup = \bookTitleMarkup
  evenHeaderMarkup = \oddHeaderMarkup
  bookTitleMarkup = ""

Here's your example  on LilyBin   .


Peter Crighton wrote
> Hello,
> 
> I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k
> For that video I saved every line from the score as a PNG in Frescobaldi,
> and put them together with the header and copyright in GIMP. Then I
> combined the resulting images to a video.
> 
> For further videos I now want to skip GIMP and just let LilyPond create
> all
> the complete PNGs. For that I need on every page the complete header,
> copyright, and one line of music, which has to be vertically centered.
> 
> If I had a \score block for every page, that would be no problem, I could
> simply put the header markup in between the scores. But I hesitate to take
> apart the whole score into many small ones for every line. (Impractical,
> as
> I don’t decide on the line breaks before transcribin, and I also want to
> produce a normal page layout PDF from the same source.)
> 
> Does anybody know a better way to achieve this? Basically, what I need
> would be a \bookTitleMarkup after every \break.





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Re: Full header on every page & vertically centered staves?

[tyronicus]

Peter Crighton wrote
> For further videos I now want to skip GIMP and just let LilyPond create
> all
> the complete PNGs. For that I need on every page the complete header,
> copyright, and one line of music, which has to be vertically centered.
> 
> ...
> 
> I’m also pretty clueless so far how to achieve the vertical centering of a
> single staff.

This is a hack in the \paper block to do that:

  top-system-spacing #'basic-distance = #100
  last-bottom-spacing #'basic-distance = #100

LilyBin link.   



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Re: Paper size survey

[tyronicus]

Wow, so far the replies have all been fairly similar. Maybe it's not so
interesting, but here's my answer:

Most of the time I am printing choral scores. The ideal size for a choral
octavo I think is about 174 x 260mm; I could probably make folded B4s work
if I were living outside the US. Since I'm in the US I print on tabloid
paper (~A3) and trim it down.



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Re: Limits of algorithmic typesetting (was: Re: mutopia's shortcomings)

[tyronicus]

Simon Albrecht-2 wrote
> I should’ve written “I believe that nothing as beautiful/good as this 
> will ever be engraved by a machine” then, since basically it is my 
> belief. Maybe I exaggerated a little :-)
> And you may believe differently of course.

My contrary belief: A machine will draw a circle better than a human 100% of
the time. It's a matter of telling it how.



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Re: Limits of algorithmic typesetting (was: Re: mutopia's shortcomings)

[tyronicus]

Eyolf Østrem wrote
> A machine may draw a more geometrically perfect circle, but if I were to
> hang the drawing on my wall, I'd much rather have one made by Mirò than by
> a
> machine. Same with notation.

Music notation may be at times a graphic art, but isn't it more often a tool
for communication? Which is ideally beautiful but must be firstly clear and
concise.

I loved it when Urs and Janek offered framed A3s from their Fried
engravings. It is certainly something I would hang on my wall.

Human handwriting may be a better comparison. It is lovely to read
handwriting, but it is far easier to read printed text.



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Re: a proper whiteout function

[tyronicus]

Kieren MacMillan wrote
> What would be involved in making a real stencil whiteout function which
> could be applicable to all grobs?
> 
> For it to Do The Right Thing™, I imagine it should:
> 1. follow exactly the grob/glyph outline (i.e., not just a rectangle/box,
> as currently implemented);
> 2. include a parameter to set the thickness of the outline; and
> 3. include a parameter to determine whether the whiteout was filled
> throughout, or allowed “holes” inside (as per the grob/glyph outline).

Forgive my ignorance, but could you just set the color of the grob to white?



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Re: a proper whiteout function

[tyronicus]

Kieren MacMillan wrote
> No: I want a black grob with a white outline (“padding”), for “layering”
> purposes.

I see. That makes sense. Sorry I can't be of more help.



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Re: Suggest a condensed old style or transitional font for lyrics?

[tyronicus]

Joshua Nichols wrote
> I'm looking for something other than minion pro. It also needs to have
> serifs (if not clear by the indication in the subject). What do you all
> use
> (free or otherwise)?

I use Crimson, which imitates Minion in a lot of ways, so I'm not sure if
it's what you're looking for.

It's a little light, so I made it heavier and condensed it, then called the
weight "Crimson Lyrics." I don't know anything about font licensing, but it
looks like I would just need to change the name before I could legally make
it available to you if you were interested.

Here's an old blog post   
with a picture of the modifications, although I have tweaked it more since
then. (I think I initially overdid it.)



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Re: Suggest a condensed old style or transitional font for lyrics?

[tyronicus]

Urs Liska wrote
> Regarding the license: Crimson is licensed under the SIL Open Font 
> License, so basically yes, you have to rename it, put an appropriate 
> FONTLOG file beside and redistribute it under the same license.
> 
> I'd be happy to give it a try and test the font. (IISC you didn't make 
> the file(s) available?)
> 
> Urs

When I get back to my machine in a few hours I will do so and post it here.



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Re: Suggest a condensed old style or transitional font for lyrics?

[tyronicus]

Here's Crimson Lyrics for anyone interested. I feel silly licensing it when
all I did was open it and transform the glyphs, but here it is anyway.

crimson-lyrics.zip
  



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Re: multiple staves in a score formatting issue

[tyronicus]

Anna,

The answer to your question depends a lot on your desired output. For
example, if I remove the \score block, Lily treats each staff as a separate
score and gives me output that I like. But I'm not really sure what you're
trying to accomplish:

\new Staff { \easyHeadsOn 
 \clef treble a'4 b'4 c'4 c'4 b'4 a'4 g'4 f'4 f'4 g'4 a'4 a'4 g'8 g'2 b'4 |}
\new Staff { \easyHeadsOn 
 \clef treble c'2 c'4 b'4 a'4 g'4 f'4 f'4 g'4 a'4 g'4 f'8 f'2 g'4 g'4 a'4
f'4 g'4 a'4 |}
\new Staff { \easyHeadsOn 
 \clef treble b'2 g'4 a'4 a'4 | g'4 f'4 g'4 c'2 a'4 a'4 b'4 c'4 |}
\new Staff { \easyHeadsOn 
 \clef treble c'4 b'4 a'4 g'4 f'4 f'4 g'4 a'4 g'4 f'8 f'2 | }



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Re: [Best Practices] splitting and combining choral parts

[tyronicus]

Kieren wrote
> I’ve posted this question several times before, but the discussion always
> got truncated or derailed… I’m hoping this time we can work this through
> to a solution.

Simon and Michael, you make interesting points; yet, as an observer, I
submit that the topic has been derailed again. Can we focus on how to
achieve automatic frenching based on divisi?

Kieren, this seems like a lot of work. It sounds like we want Lily to look
at the line she's working on and decide whether some of the staves can be
combined based on the content they have. There would be a bunch of rules to
follow (do you allow Lily to combine when pitches are different but rhythms
are the same? what about a short melisma in one voice but not in the other;
would you split a whole line over that? Do you allow the alto staff and
tenor staff to combine for S/AT/B?). An ideal solution would have to allow
the user to turn certain rules on or off. This seems like complex
programming to me.

My question is, would a solution that requires user intervention be
acceptable? For example, a switch like \separateStaves which would force
staves to be separated from the beginning of the current line, and a
corresponding \combineStaves which would tell Lily to begin combining at the
next line break. You would also have to specify which staves to combine.
This puts the burden of decision on the user, hopefully simplifying the
programming. Then, Lily just has to create a new Staff, use \partcombine,
and assign lyrics to the voice.



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Voices and Edition Engraver

[tyronicus]

Fellow Ponders,

I'm trying to use the Edition Engraver for the first time. In the (smallish)
example below, see how in the current method that I use of splitting and
joining voices, the Ed.Engr. seems to be confused about when the voice
starts,
and thus, I'm unable to modify the slur in \voiceTwo.

I get the following error in the log:

warning: missing @ 1 # Voice/B
warning: ---> \override NoteHead #'color = (0.0 0.0 1.0)
warning: ---> \override Slur #'color = (1.0 0.0 0.0)

Any tips on how I could do this? Do I need to change the way I handle
Voices?

%%

\version "2.19.37"

twoVoices = #(define-music-function (one two)(ly:music? ly:music?)
  #{ << { \voiceOne $one } \new Voice { \voiceTwo $two } >> \oneVoice #})

tenN = \relative c' {\key b \minor\clef "G_8"
  \twoVoices { b2.( cis4) } { fis,2( g4 b) }
   4   2
}

\include "editorial-tools/edition-engraver/definitions.ily"

\layout {
  \context { \Voice
\consists \editionEngraver ##f
  }
}

\score {
  \new Voice \tenN
}

\addEdition octavo
\editionMod octavo 1 0/4 Voice.A \override Slur.color = #green
\editionMod octavo 1 0/4 Voice.B \override NoteHead.color = #blue
\editionMod octavo 1 0/4 Voice.B \override Slur.color = #red

 




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Re: Voices and Edition Engraver

[tyronicus]

Kieren wrote
> I know of no workaround; you simply have to put the tweak in the content.


Urs wrote
> We have *just* begun with a rewrite, and yes, the ID addressing is a
> crucial part of it. But of course it will take its time.

Thanks, both of you.
Samuel



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Re: lilypond fonts

[tyronicus]

Is it necessary that the site be down while you are making these
decisions? I could easily throw your old site up on a server while
you're working on it. So many people have asked, and the fonts are
completely unavailable. I'm sure people wouldn't mind using an older
version of the fonts while you are working on commercializing them.



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Re: Fonts from the former fonts.openlilylib.org

[tyronicus]

Andrew Bernard wrote
> I for one am quite concerned that the huge effort I have invested in
> scores using your fonts will become nullified.

The fonts are licensed openly; you are free to keep using them if you
have them. It's the newer versions that may have restrictions, so
there may not be need for concern.

If you do have them, Carl and I are both looking for a copy.



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Re: Fonts from the former fonts.openlilylib.org

[tyronicus]

Abraham,

I wish you the best in your future efforts with music font design. You
definitely have a talent for it and your efforts have been
commendable. Gumroad might be a good option for distribution and it
would also allow you to provide the older fonts on a pay-what-you-want
model.

At least until such time as you offer your fonts for purchase, it
doesn't hurt you to have them out in the open. They have been
unavailable for about three months. So, I hope that you can forgive me
for going against your wishes and posting them.

http://filedropper.com/alternate-lily-fonts
cbeede5e33c8157317fe2178c3dc9157  alternate-lily-fonts.zip [34.5 MB]



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Re: Technical question

[tyronicus]

David Kastrup wrote
> LilyPond will not make use of a graphics card.  Indeed, for a single
> score, LilyPond will not make use of more than a single CPU core.

After Lily decides how many systems to draw, could she
use multiple threads to draw systems simultaneously?



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Re: LilyPond logo?

[tyronicus]

The vectorized image looks very good. It'd be nice, though, to have some sort
of "icon" logo in true black and white. Maybe something like the attached?
It's an Inkscape svg if anyone wants to mess with it.

lp.png   
lp.svg   



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Re: Getting a new computer

[tyronicus]

On a laptop, but just for comparison, it took 44 seconds on an i5-5200U
processor.

I have heard that cache size can make a difference if you are recompiling
often. To check, I recompiled three more times and got 44 seconds each time.
So my cache doesn't seem to make any difference (3MB).

Memory usage spiked by about 1.4 gb while compiling the file.



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