(No Subject)

[Kenneth Flak]

Hi list,

I've started learning me a bit of emacs, and I would love to get 
lilypond working with it as well... However, the installation 
instructions in the documentation left me a bit baffled. It 
*seems* I should be able to just require the lilypond files, as 
they are nicely tucked away in 
/usr/share/emacs/site-lisp. However, this doesn't do much for 
me... Could someone hold my hand a little bit to get this set up? 
I'm on Arch Linux, using emacs 29.4.

Best,
Kenneth

Re: (No subject)

[Gian Paolo Renello]

Thank you for this example which explains me lot of things. Also I found the solution with the model Aikema proposed, that is  when you write the music voices (soprano, alto or what else in another part of the file you should give them the same name of the new voice you write in the \score part. I didn't noticed this before, that's why i couldn't see the soprano texts My socre has 2 voices soprano voices as well alto tenor and bass. So is : soprano = \relative c'' {    \global    % Qui segue la musica.    <<        \new Voice  = "sopranoVoice" {            \voiceOne            a2^\p^\< (b4 c|         % m1            %\override Hairpin.to-barline = ##f            d4) c\! b^\>  a |     % m2            a1  |            % m3            a\! |            % m4            \override Hairpin.to-barline = ##fetc. .. and then in the \score part:  \score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }      \new Lyrics \with { alignAboveContext = "sopranoStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }    \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru    \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse . Now i learned two ways of achieving this goal. Thank you all again  Gian Paolo22.04.2024, 05:19, "David Wright" :On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote: > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote: >  > I read as you suggested but didn't find the way. Here is hte piece of score code: >   > \score{ > \new StaffGroup << > \new Staff \with { > midiInstrument = "choir aahs" > instrumentName = "Soprani" > } { \soprano } > \addlyrics {\sopranoVerse_sup} > \addlyrics { \sopranoVerse_ru } > \addlyrics { \sopranoVerse } >    You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.I have no problem using \addlyrics above the staff. The attachedshows an example, with verses 1 and 2 aligned to the soprano,and verses 3, 4 and 5 to the alto, tenor and bass respectively.(You wouldn't do it like this for a strophic hymn, but if you excludeverse 2, it illustrates a layout for a 4-part non-homophonic composition.) \addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice.But its placement can refer to the staves, as you appeared to say earlier: > The preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.Cheers,David.

Re: (No subject)

[David Wright]

On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote:
> > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
> > 
> > I read as you suggested but didn't find the way. Here is hte piece of score 
> > code:
> >  
> > \score{
> > \new StaffGroup <<
> > \new Staff \with {
> > midiInstrument = "choir aahs"
> > instrumentName = "Soprani"
> > } { \soprano }
> > \addlyrics {\sopranoVerse_sup}
> > \addlyrics { \sopranoVerse_ru }
> > \addlyrics { \sopranoVerse }
> >  
> 
> You can’t use the \addlyrics shortcut when you want to place the lyrics above 
> the staff. You’ll have to use the \new Lyrics construct (as shown in the 
> notation manual) for those lyrics.

I have no problem using \addlyrics above the staff. The attached
shows an example, with verses 1 and 2 aligned to the soprano,
and verses 3, 4 and 5 to the alto, tenor and bass respectively.

(You wouldn't do it like this for a strophic hymn, but if you exclude
verse 2, it illustrates a layout for a 4-part non-homophonic composition.)

> \addlyrics is very limited in customisation power, it’s a shorthand for 
> creating the new Lyrics to the preceding voice (the music in between the 
> braces ( {\soprano} ) implicitly creates an unnamed voice.

But its placement can refer to the staves, as you appeared to say earlier:

> > The preferred way is by coding the '\with { alignAboveContext = “ > the staff>” }` to the Lyrics assigned to the Solo in your piece.

Cheers,
David.
\version "2.24.0"
\language english
\header {
  tagline = ##f
}
global = {
  \key g \major
  \time 4/4
  \partial 2
  s2 s1 s2
  s2 s1 s2
  \bar "" \break
}

soprano = \relative {
  d'4 fs g4. g8 g[( fs]) g[( a]) a4 g
  g4 b d4. b8 b[( a]) g[( fs]) g2
}

alto = \relative {
  d'4 c d4. d8 d4 d8[( fs]) fs4 g4
  d4 g g4. g8 e4 d d2
}

tenor = \relative {
  b4 a g4. b8 b[( a]) b[( c]) c4 b
  b4 g g4. d'8 d[( c]) b[( a]) b2
}

bass = \relative {
  g,4 a b4. g8 d'4 d d g
  g4 e b4. g8 c4 d g,2
}

texti = \lyricmode {
  \set stanza = "1."
  Once in roy -- al Da -- vid’s Ci -- ty
  Stood a low -- ly cat -- tle __ shed,
}

textii = \lyricmode {
  \set stanza = "2."
  He came down to earth from hea -- ven
  Who is God and Lord of __ all,
}

textiii = \lyricmode {
  \set stanza = "3."
  And through all his won -- drous child -- hood
  He would hon -- our and o -- bey,
}

textiv = \lyricmode {
  \set stanza = "4."
  For he is our child -- hood’s pat -- tern,
  Day by day like us __ he __ grew;
}

textv = \lyricmode {
  \set stanza = "5."
  And our eyes at last shall see him
  Through his own re -- deem -- ing love,
}

\score {
  \new ChoirStaff <<
\new Staff = streb <<
  \clef treble \global
  \new Voice { \voiceOne \soprano }
  \addlyrics \with { alignAboveContext = streb } { \texti }
  \addlyrics { \textii }
  \new Voice { \voiceTwo \alto }
  \addlyrics { \textiii }
>>
\new Staff = sbass <<
  \clef bass \global
  \new Voice { \voiceOne \tenor }
  \addlyrics \with { alignAboveContext = sbass } { \textiv }
  \new Voice { \voiceTwo \bass }
  \addlyrics { \textv }
>>
  >>
  \layout {
indent = 0
\context {
  \Staff
  \omit TimeSignature
}
  }
}


once.pdf
Description: Adobe PDF document

Re: (No subject)

[Xavier Scheuer]

On Sun, 21 Apr 2024 at 20:44, Gian Paolo Renello 
wrote:
>
> Your right, thanks.  I noticed it and changed as well in my code, but the
problem won't solve (see previous mail about the context)

Hello,

The Lyrics should come after the \new Voice = "sopranoVoice".
If you get an error please send a minimal example of code showing the issue.

Kind regards,
Xavier

Re: (No subject)

[Gian Paolo Renello]

Your right, thanks.  I noticed it and changed as well in my code, but the problem won't solve (see previous mail about the context) GP21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Gian Paolo Renello]

this part of code: \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } } works well, but the second part:  \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse give me always the same errorthat is unable to find the context  Voice = sopranoVoice\new Lyrics \with { alignAboveContext = "sopranoStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup } and the same for  the context Voice = sopranoVoicefor all the \liricsto the other verses... \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru so the verses for soprano wont show... Gian Paolo21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Hans Aikema]

Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Hans Aikema]

> On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:
> 
> I read as you suggested but didn't find the way. Here is hte piece of score 
> code:
>  
> \score{
> \new StaffGroup <<
> \new Staff \with {
> midiInstrument = "choir aahs"
> instrumentName = "Soprani"
> } { \soprano }
> \addlyrics {\sopranoVerse_sup}
> \addlyrics { \sopranoVerse_ru }
> \addlyrics { \sopranoVerse }
>  

You can’t use the \addlyrics shortcut when you want to place the lyrics above 
the staff. You’ll have to use the \new Lyrics construct (as shown in the 
notation manual) for those lyrics.

\score{
\new StaffGroup <<
\new Staff = "sopranoStaff" \with {
midiInstrument = "choir aahs"
instrumentName = "Soprani"
} { \new Voice = "sopranoVoice" { \soprano } }
\new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto 
"sopranoVoice" \sopranoVerse_sup }
\new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru
\new Lyrics \lyricsto "sopranoVoice" \sopranoVerse

Should do the trick if I didn’t mess up the syntax (cannot validate as you 
provided only the opening snippet, but the transition from \addlyrics to \new 
Lyrics is required to specify the alignAboveContext)

\addlyrics is very limited in customisation power, it’s a shorthand for 
creating the new Lyrics to the preceding voice (the music in between the braces 
( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use 
the \new Lyrics you also need to explicitly create the voice and give it a name 
to be able to reference it using the \lyricsto


> all the three texts are printed under soprano staff. But what i need is 
> \sopranoVerse_sup printed over the soprano staff since there are two voices 
> (sop I and II) and the don't sing  the same text.
>  
> Amy idea? the alignabovecontext Staff won't work inside \addlyrics
>  
> tx for your attention
>  
> Gian Paolo
> 
> 
> 11.04.2024, 18:54, "Hans Aikema" :
> 
> 
> On 11 Apr 2024, at 16:59, Gian Paolo Renello  > wrote:
> 
> Hi, i have a question:
> ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices 
> are all under the staff. I need the fifth one to be over the Soprano staff 
> while the second soprano voices sings the part under the staff. See attached 
> image. Thank you.
> 
> There are some examples on lyrics placement documented at 
> https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics
>  
> 
> 
> For your score you would put two voices (Solo and Sopranos) in the Sopranos 
> staff 
> https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphony
> 
> and put the lyrics attached to the Solo above that staff, and the lyrics 
> attached to the Sopranos below it. The location of each lyric can be 
> controlled individually as documented on that page at 
> https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-vertically
> 
> The preferred way is by coding the '\with { alignAboveContext = “ staff>” }` to the Lyrics assigned to the Solo in your piece.
> 
> 
> HTH
> 
> Hans
> 

Re: (No subject)

[Gian Paolo Renello]

I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } all the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

[no subject]

[Gian Paolo Renello]

Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you. Gian Paolo  

[no subject]

[Gian Paolo Renello]

Hi, I am new to lilypond, using Frescobaldi.I read manuals and other stuff but i am not able to repduce with lilypond such a score: There are 8 voices plus the oktavist.The lirycs are above the soprano, for voice 1 and under soprano for voice 2. The same happens for Alto and Tenor voices (when the are 2). The basso voices have the same vocal part so it is placed between the 2 basso's starves. Moreover I should have to add a transliteration under each line in russian.Can you just show me how to write these fragments so that eventually I can understand and arrange all the score?? Thanks all a lot

[no subject]

[Volodymyr Prokopyuk]

Hello,


*Problem*

I have got an extra treble clef on the second Staff when using a PianoStaff
with two \clef bass staves. See the example below

*Example*

\version "2.23.14"

\score {
  \new PianoStaff = bayan {
<<
  \new Staff = rightHand {
\tempo Lento
\clef bass
\key c \minor
\time 2/4
\relative {
  \acciaccatura { g=16 a b } c='2->\mp |
}
  }
  \new Staff = leftHand {
\clef bass
\key c \minor
\relative { c=2 | }
  }
>>
  }
}

[image: image.png]
However, when the \acciaccatura is removed, the treble clef disappears,
producing the desired result. Why does the \acciaccatura add the extra
unwanted treble clef? What can be done to have the \acciaccatura and
continue with two bass cleves?

Thank you,
Vlad

[no subject]

[Лысов Дмитрий]

Как определить в define-scheme-function аргументы "lyricup" и "lyricdown", чтобы их значения брались из данных \makeScore? При этом у верхней и нижней строк текста должны быть заданы разные шрифты. \version "2.22.1"   \header {   title = "Сборник мелодических формул знаменного распева"   composer= "Штейнберг Б."  poet = "Москва, 2017"} \paper {  #(set-paper-size "a4")  tagline=##f  ragged-right = ##t  myStaffSize = #21  #(define fonts (make-pango-font-tree                  "Ponomar Unicode"                  "Ponomar Unicode"                  "Ponomar Unicode"                  (/ myStaffSize 21)))} \layout {  indent = 0.0   \context {    \Lyrics     \override LyricText #'font-size = #4     \override LyricText #'font-name = #"Ponomar Unicode"     \override LyricSpace.minimum-distance = #0.8   }   \context {     \Score     \override SpacingSpanner.spacing-increment = 0.5  }  \context {     \KievanVoice     \stemDown     fontSize = 1.0  }}  \midi {   \context {     \Score     tempoWholesPerMinute = #(ly:make-moment 110 2)   }   \context {     \Staff     \remove Staff_performer   }   \context {     \Voice     \remove Staff_performer   }} makeScore =#(define-scheme-function (mark notes lyricup lyricdown) (markup? ly:music? markup? markup?)    #{      \score {        \header {piece = \markup { Название }}        <<          \new KievanStaff  = slavonic           <<          \new KievanVoice = "melody"             \relative c' {              \cadenzaOn              \mark #mark              #notes              \bar "|"            }          >>                  \new Lyrics         \lyricsto "melody"         {а п р ц} %lyricup                 \new Lyrics \with {alignAboveContext = slavonic}         \lyricsto "melody"         {b b b b} %lyricdown                 >>         \layout { }        %\midi { }      }    #}) \markup { \fill-line \huge { "Глас 1" }}\markup { \fill-line \huge { "Начальные" }}\makeScore "Удра" {e4 c d f e d c d e d e1} "mi do re fa" "E C D F"\markup { \fill-line \huge { "Конечные" }} \makeScore "Удра" {e4 c d f e d c d e d e1} "mi do re fa" "E C D F"\markup { \fill-line \huge { "Срединные" }}\makeScore "Дербица или скорпица" {e4 f g a a g2.} "mi fa sol la" "E F G A"

[no subject]

[Philippe ZELLER]

Dear lilypond fellow users,
it sometimes occurs in barock music that only every other barline is
visible, (see e.g. Haendel's Salomo, choir at the end of Act II ) or that
every other barline is printed in reduced size.(see e.g. Bach Mass in
H-moll, nr 27 "dona nobis pacem" ).
Is there a way to get this result in lilypond ?

I first tried
\set Score.barLineVisibility = #(every-nth-bar-number-visible 2)
that I made up after an equivalent syntax for barNumber, but to no avail.
Maybe I didn't put it in the right context ?

Finally I used a rather complicated procedure based on
global = {
  \repeat unfold 24 { s2. \once \override Staff.BarLine.transparent =
##t  s2. \once \override Staff.BarLine.transparent = ##f }
}
which works but is not fully compatible, for example it does not work with
multiMeasureRests.

Many thanks in advance for your suggestions !

[no subject]

[ming tsang]

Starting lilypond-windows.exe 2.21.4 [the-conflict-of-the-ages.ly]...

Processing `C:/Users/yming
tsang/Documents/CHOIR_2020/the-conflict-of-the-ages/
the-conflict-of-the-ages.ly'

Parsing...

Interpreting music...

Preprocessing graphical objects...

Interpreting music...

fatal error: cannot create temp file: the-conflict-of-the-ages.mid. 2365:
Invalid argument

Exited with return code 1.


Hi, lilyponders:

How to resolve the above error message? I did not find any .mid file in my
pc.

Thanks for the help.

Ming.



-- 
ming (lyndon) tsang

[no subject]

[Stefan Thomas]

Dear community,
the following code is very old, written by Rune Zedeler, but it is very
useful.
It allows You define a motive like:
\motiv #'Stefan {c'8 d' c' d' e2}
and later it can be used like this:
\Stefan {e f g }
and You will get
{e8 f e f g2 }
it can save a lot of typing.
Unfortunately it doesn't seem to work with lilypond 2.20.0
Has someone an idea, how I can get it working with lilypond 2.20.0?
Thanks in advance for any hint!
Here is the definition, that works with 2.18.2.:
motiv =
#(define-music-function (name pattern)
  (symbol? ly:music?)
  (letrec ((trans-rec
   (lambda (pitches)
(lambda (music)
 (let* ((es (ly:music-property music 'elements))
(e (ly:music-property music 'element))
(p (ly:music-property music 'pitch)))

  (if (pair? es)
(ly:music-set-property!
music 'elements
(map (trans-rec pitches) es)))

  (if (ly:music? e)
(ly:music-set-property!
music 'element
((trans-rec pitches) e)))

  (if (ly:pitch? p)
(let* ((o (ly:pitch-octave p))
  (n (ly:pitch-notename p))
  (i (+ (* 7 o) n))
  (pes (ly:music-property (list-ref pitches i) 'elements))
  (pnew (ly:music-property (car pes) 'pitch))
)
(ly:music-set-property! music 'pitch pnew)
  ))
  music)
   (primitive-eval
`(define ,name
  (define-music-function (parserb locationb pitchseq)
   (ly:music?)
   (let* ((pitches (ly:music-property pitchseq 'elements))
 (n   (ly:music-property pitchseq 'name)))
(if (not (equal? n 'SequentialMusic))
(ly:warning "2nd arg of transform must be SequentialMusic, got ~a" n)
((,trans-rec (map event-chord-wrap! pitches))
  (ly:music-deep-copy ,pattern)))
   (make-music 'SequentialMusic 'void #t)))

Re: Horizontal Slurs (was Re: (no subject))

[Urs Liska]

Hi Aaron,

thank you for looking into it. I think I'll get along with the suggestion in 
the current score, but I'll also file a bug report because I think this should 
not happen in the first place, and the notation is not terribly excentrly ...

Best
Urs

24. September 2019 19:23, "Aaron Hill"  schrieb:

> On 2019-09-24 9:35 am, Urs Liska wrote:
> 
>> Is there any reason why the slrus in the attached example come out the
>> way they do (i.e. so horizontal, with the left edge being so far away
>> from the notehead)?
> 
> Seems to be a combination of slurring identical pitches and the articulation 
> on the one note. If
> you remove the staccato, the slur sits reasonably close. If you change either 
> pitch, then the slur
> behaves more normally.
> 
> 
> \version "2.19.83"
> 
> { a'8._( a'16_.) \bar "||"
> a'8._( a'16) b'8._( a'16_.) a'8._( b'16_.) }
> 
> 
>> What would be the best way to deal with that? Of course I could \shape
>> them individually, but there's a lot of them in the scores, so I'd
>> prefer a *setting* to be applied.
> 
> Adjusting edge-attraction-factor seems to help, but be careful with too high 
> a value as it collides
> with the articulation:
> 
> 
> \version "2.19.83"
> 
> { \once \override Slur.details.edge-attraction-factor = #38
> a'8._( a'16_.)
> \once \override Slur.details.edge-attraction-factor = #48
> a'8._( a'16_.)
> \once \override Slur.details.edge-attraction-factor = #58
> a'8._( a'16_.) }
> 
> 
> -- Aaron Hill
> ___
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Re: Horizontal Slurs (was Re: (no subject))

[Aaron Hill]

On 2019-09-24 9:35 am, Urs Liska wrote:

Is there any reason why the slrus in the attached example come out the
way they do (i.e. so horizontal, with the left edge being so far away
from the notehead)?


Seems to be a combination of slurring identical pitches and the 
articulation on the one note.  If you remove the staccato, the slur sits 
reasonably close.  If you change either pitch, then the slur behaves 
more normally.



\version "2.19.83"

{ a'8._( a'16_.) \bar "||"
  a'8._( a'16) b'8._( a'16_.) a'8._( b'16_.) }



What would be the best way to deal with that? Of course I could \shape
them individually, but there's a lot of them in the scores, so I'd
prefer a *setting* to be applied.


Adjusting edge-attraction-factor seems to help, but be careful with too 
high a value as it collides with the articulation:



\version "2.19.83"

{ \once \override Slur.details.edge-attraction-factor = #38
  a'8._( a'16_.)
  \once \override Slur.details.edge-attraction-factor = #48
  a'8._( a'16_.)
  \once \override Slur.details.edge-attraction-factor = #58
  a'8._( a'16_.) }



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[no subject]

[Urs Liska]

Is there any reason why the slrus in the attached example come out the way they 
do (i.e. so horizontal, with the left edge being so far away from the notehead)?

What would be the best way to deal with that? Of course I could \shape them 
individually, but there's a lot of them in the scores, so I'd prefer a 
*setting* to be applied.

Thanks
Urs
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[no subject]

[Andrew Bernard]

get index hpschd96
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[no subject]

[Craig Dabelstein]

Hi everyone,

Has anyone encountered this error in Terminal before? I'm on a Mac (latest
OS) and invoking Lilypond on about 30 parts. This error came up on about
the 25th part.

warning: g_spawn_sync failed (0): gs: Too many open files




All the best,


CRaig





-- 
[image: photograph]
*Craig Dabelstein*
Owner
email: cr...@maximesmusic.com.au
Maxime's Music, QLD, Australia
[image: facebook icon]  [image:
twitter icon]  [image: youtube icon]
 [image: instagram icon]
  maximesmusic.com.au
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[no subject]

[Ben Big Noise]

Dear LilyPond fellows, 

who has some experience in creating PNG files on MacOSX? 

The problem is that conversion from EPS to PNG fails: 
--- 
 Processing `OOoLilyPond.ly' 
Parsing... 
Interpreting music... 
Preprocessing graphical objects... 
Calculating line breaks... 
Drawing systems... 
Layout output to `OOoLilyPond.eps'... 
Converting to PNG...dyld: Library not loaded: ./bin/../sobin/libgs.8.70.dylib 
Referenced from: /Applications/LilyPond.app/Contents/Resources/bin/../bin/gs 
Reason: no suitable image found. Did find: 
/usr/local/lib/libgs.8.70.dylib: stat() failed with errno=13 

fatal error: GS exited with status: 5 
--- 

Can anyone help? 

Cheers, 
Klaus 
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[no subject]

[Mirosław Doroszewski]

Only telling the Truth sincerely, frankly, is powerful, helpful, hopeful.
Who is telling the Truth sincerely, frankly, is powerful, helpful,
hopeful — even when is telling about his/her false, powerless,
helpless, hopeless, desperate — is paradoxically powerful, helpful,
hopeful, and is begging mercy.

So: Telling false is powerless, helpless, hopeless, desperate.
Who is telling false, is powerless, helpless, hopeless, desperate.
And when see his/her powerless, helpless, hopeless, desperate — may
tell about it truly and sincerely, frankly, or may not tell about it
and think false about himself/herself, giving false ideas telling
others that are true.

What about somebody who cannot tell the Truth?
Let him/her do like a linker only trying: in a whisper, with little
voice, sincerely, being quite frank: "I cannot tell the Truth. I
cannot live with the Truth".
If the somebody is telling this, paradoxically is at once, now telling
the Truth about himself/herself — and at once, now: is powerful,
helpful, hopeful, and is sorry, regrets, begging mercy.

If I can do something, I can tell this.

If I cannot do something, let me do not tell that I can.

If the world would not pay 100,000,000,000 dollars or euro every month
for bulbs (=electric lights) in computers and computer peripherals,
even loud-speakers — i.e. Musescore and LilyPond would be in version 2
a long time ago.

Conclusions:
1) "Be good, if you are able" (Saint Philippe Neri).
2) And mercy for these, whoever wants asking or begging as long as has
chance, till death...

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[no subject]

[Rob Torop]

I'm finding that when I use a TabStaff and also set some properties (either
or both of minimumFret and restrainOpenStrings), my first line has an extra
TabStaff!  What can I do to get rid of it? Thanks!

Here's what it looks like:

[image: Screen Shot 2017-03-26 at 4.46.59 PM.png]

And here's the code that generated this:

\version "2.19"
\language "english"

solo = \relative c' {

% Either of both of the two settings will cause an extra "TAB" staff to
be rendered
 \set TabStaff.minimumFret=#1
 \set TabStaff.restrainOpenStrings = ##t

 c8   f e ef df c bf af
}

\score {
  <<
 \new Staff\solo
 \new TabStaff  \solo
   >>
}
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[no subject]

[Carlos R Martinez]

Hello,

Is it possible to use lily pond online from a server so I can use it on
my chromebook!
thanks

cr
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[no subject]

[Mirosław Doroszewski]

Exporting to image file in LilyPond version 2.18.2.

1. Command line help tells that lilypond can export prints not only to
pdf but also to png format.
2. Command line help does not tell how set resolution for image
format. I have found the setting in Learning help file. The setting
is: "lilypond --png -dresolution=300".
3. I have used lilypond a few years ago and I remember that it is
possible to export not only into separate pages but also each system
into separate image files.
4. How one can do that in command line?

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[no subject]

[Mark Stephen Mrotek]

Thiago,

 

The parentheses are not needed in the tempo marking.

\tempo Andante

 

Mark

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[no subject]

[Paulo Rios Filho]

Cvc VP ___
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[no subject]

[B~M]

Dear All, I would like to add an up bow symbol to the
middle of a tie between two notes. The file seg.pdf is a snippet
of the problem. In the second tie I would like to place a V to denote
up bow. However, the up bow and down bow symbols are attached
to notes in the lilypond file.
Is there some way I can arbitrarily place a V over the tie with x y
co-ordinates ?
This is useful for trills over long notes where one runs out of bow.

paul


Seg.pdf
Description: Adobe PDF document


Seg.ly
Description: Binary data
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[no subject]

[Scott Lawrence]

So I downloaded lilypond... All I get when I start the application is the 
following message: "%{
Welcome to LilyPond
===

Congratulations, LilyPond has been installed successfully.

Now to take it for the first test run.

  1. Save this file

  2. Select

   Compile > Typeset file

  from the menu.

  The file is processed, and

  3.  The PDF viewer will pop up. Click one of the noteheads.


That's it.  For more information, visit http://lilypond.org .

%}

\header{
  title = "A scale in LilyPond"
}

\relative {
  c d e f g a b c
}


\version "2.18.2"  % necessary for upgrading to future LilyPond versions."

I saved it like it said but I see no musical things

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[no subject]

[Mátyás Seress]

Hi guys,

I just downloaded the Lilypond Notation Reference pdf for version 2.19.38
from here:
http://www.lilypond.org/doc/v2.19/Documentation/notation.pdf

and I noticed that in the Table of Contents the page numbers next to the
entries are not clickable hyperrefs like in previous verisons.

Do you know who could fix this? because it'd facilitate the navigation a
great deal.

Thank you! :)

Mat

Ezt az e-mailt egy Avast védelemmel rendelkező, vírusmentes számítógépről
küldték.
www.avast.com

<#DDB4FAA8-2DD7-40BB-A1B8-4E2AA1F9FDF2>
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[no subject]

[B~M]

Dear All, here is perhaps a silly little question.
I am trying to get a slur from a crotchet "into" one of the voices in a
polyphonic voicing. In measure 1 the third blue note should have a
slur connecting it to the next blue note, which is in the polyphonic part.
I tried ( ) and \( \) with no success, so something special is perhaps
required ?

Also, to avoid continually inserting \tweak #'color #blue
I wrote a function

BN =
#(define-music-function (parser location)()
   #{
 \tweak #'color #blue
   #})

But this won't work in a chord < \BN > or a part with two voices <<{\BN }
\\  {}>> etc.
Is it possible to use a function for this purpose or must the change of
color
be written out each time ?

Kind regards Paul


Snippet.ly
Description: Binary data


Snippet.pdf
Description: Adobe PDF document
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[no subject]

[Stephen MacNeil]

i thought i sent you something showing how to move it

anyway not sure where you want it, but do it like this


HTH
Stephen


VS.ly
Description: Binary data
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Re: (no subject)

[tisimst]

Stephen,

On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond] 
 wrote:
> I understand that however you still can not control what note it goes 
> to.
> 
> \slashedGrace b8_( 4 )
> 
> How would I indicate to have the slur attach to the 'a' note? 

Sorry. That's just the way it works for now. The ideal would be to do 
this, but there isn't a mechanism for it:

\slashedGrace b8_( 4 

> >And, until there is a
> >better solution, you may have to tweak the shape of the slur to go to
> >the correct note (say you wanted to go the "a" in the chord).
> 
> which is the same solution I have already done with the previous 
> examples.
>  
> \version "2.18.2"
> 
> \relative c'{
> \time 6/8
> <<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo 
> \slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur 
> \override Slur.positions = #'(0 . 0) \acciaccatura d'8 c   g c>}>> |
> 
> }
> \relative c'{
> \time 6/8
> 8
> \stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 
> . 2.0)) Slur \override Slur.positions = #'(0 . 0)
> 16 (a) 8
> }
> 
> Thanks
> 

That is true, but let's clean up your code a little:

\relative c'{
  \time 6/8
  \shape #'((0.2 . 1.1) (0.5 . 1.5) (0.3 . 2.2) (0.1 . 2.8)) Slur 
  \acciaccatura d'8   
}

\relative c'{
  \time 6/8
  8^[
  \shape #'((0.7 . 1.3) (0.2 . 1.1) (-0.1 . 0.7) (-0.2 . 0.4)) Slur 
  16_( a ) 8 ]
}

And just so you know, the << { ... }\\{ ... } >> implicitly applies 
\voiceOne and \voiceTwo, so those are unnecessary.

HTH,
Abraham




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[no subject]

[Stephen MacNeil]

I understand that however you still can not control what note it goes to.

\slashedGrace b8_( 4 )


How would I indicate to have the slur attach to the 'a' note?


>And, until there is a
>better solution, you may have to tweak the shape of the slur to go to
>the correct note (say you wanted to go the "a" in the chord).

which is the same solution I have already done with the previous examples.


\version "2.18.2"


\relative c'{

\time 6/8

<<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo
\slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur
\override Slur.positions = #'(0 . 0) \acciaccatura d'8 c  }>> |


}

\relative c'{

\time 6/8

8

\stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 .
2.0)) Slur \override Slur.positions = #'(0 . 0)

16 (a) 8

}


Thanks
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[no subject]

[me here]

hey for partial after first one in statement use

 % part bars

\set Score.measureLength = #(ly:make-moment 1 8)

% done

a'' -4\f |

% set back

\set Score.measureLength = #(ly:make-moment 4 8)

% done
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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
> have you seen:
> http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
> ?

Excellent! Highly useful - although it is a bit annoying to see a large
bunch of warnings when the showLastLength is set.




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Re: (no subject)

[jensgc]

Kieren MacMillan wrote
> Having just engraved 25 minutes of large forces music for voices and
> instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you
> avoid doing things like that in future scores.

Thanks for the advice. I'm only on my 4th "real" score in Lilypond so I'll
take all the advice I can get. 


>> If there is a simple way of "blanking" all music from a voice,
>> effectively
>> replacing all content with full bar rests (while obeying the time
>> signature
>> in each bar), that could be a useful approach in my case.
> 
> There are recent threads about this sort of thing — search the list
> archives.

I've been glancing through the archive for the current month + doing a
couple of searches without discovering any relevant topics. 

Can you give a hint to what terms I need to search for? 




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Re: (no subject)

[Simon Bailey]

On Wed, Jan 15, 2014 at 3:48 PM, jensgc  wrote:
> Kieren MacMillan wrote
>> It’s not… I do exactly this all the time.
>> Simply put your ritardando or stringendo in the same global variable as
>> your \tempo and \mark items.
>
> Hi. Not sure if you have seen my earlier posts - but I don't have my \tempo
> and \mark items in a global variable. I wrote the quartet part (starting at
> approx. bar 70) in a separate file, making proofreading and finetuning a lot
> quicker than the combined score. In the first part of the score (bars 1-70)

have you seen: 
http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
?

> If there is a simple way of "blanking" all music from a voice, effectively
> replacing all content with full bar rests (while obeying the time signature
> in each bar), that could be a useful approach in my case. I moved the
> quartet to the desired spot (bar 70) by copying bars from more or less
> inactive voices and manually modifying them to be all rests. If there is a
> smarter way to accomplish this - either in Frescobaldi or directly in
> Lilypond - I'd be happy to learn it

there is probably some form of scheme voodoo out there which will do
this. i don't have time at the moment to dig though, but you could try
searching the list archives (also have a look at the lilypond-devel
archives) or LSR. maybe one of the scheme gurus will pipe in here as
well. :)

apart from that, i can only emphasize what kieren just posted: global
structure variables make your life a lot easier. :) i've been using
them for the past 10 years or so, the first thing i write in any new
lilypond file after "\version ..." is "global =" :)

regards,
sb
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Re: (no subject)

[Kieren MacMillan]

Hi,

> Hi. Not sure if you have seen my earlier posts

Sorry… yeah, I missed those.

> I don't have my \tempo and \mark items in a global variable.

I do recommend using a global variable in the future.

> I wrote the quartet part (starting at
> approx. bar 70) in a separate file, making proofreading and finetuning a lot
> quicker than the combined score.

You can still proofread and fine-tune the separate quartet part, just as 
quickly, with a global variable.

> In the first part of the score (bars 1-70)
> the \time, \tempo and \key changes are defined in the main choir part, since
> the quartet is doing nothing. In the latter part, the \time and \tempo
> changes are defined in the quartet file, as this is the dominant part from
> bar 70.

Having just engraved 25 minutes of large forces music for voices and 
instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you avoid 
doing things like that in future scores.

> If there is a simple way of "blanking" all music from a voice, effectively
> replacing all content with full bar rests (while obeying the time signature
> in each bar), that could be a useful approach in my case.

There are recent threads about this sort of thing — search the list archives.

Hope this helps!
Kieren.
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Re: (no subject)

[jensgc]

Kieren MacMillan wrote
>> In regards to tempo markings, it is a different matter, since any change
>> in
>> tempo needs to apply to each and every voice in the system. It makes
>> perfect
>> sense that the \tempo marking always goes to the System - I just don't
>> understand why it is much more difficult to give a ritardando or
>> stringendo
>> the same behavior.
> 
> It’s not… I do exactly this all the time.
> Simply put your ritardando or stringendo in the same global variable as
> your \tempo and \mark items.

Hi. Not sure if you have seen my earlier posts - but I don't have my \tempo
and \mark items in a global variable. I wrote the quartet part (starting at
approx. bar 70) in a separate file, making proofreading and finetuning a lot
quicker than the combined score. In the first part of the score (bars 1-70)
the \time, \tempo and \key changes are defined in the main choir part, since
the quartet is doing nothing. In the latter part, the \time and \tempo
changes are defined in the quartet file, as this is the dominant part from
bar 70.

If there is a simple way of "blanking" all music from a voice, effectively
replacing all content with full bar rests (while obeying the time signature
in each bar), that could be a useful approach in my case. I moved the
quartet to the desired spot (bar 70) by copying bars from more or less
inactive voices and manually modifying them to be all rests. If there is a
smarter way to accomplish this - either in Frescobaldi or directly in
Lilypond - I'd be happy to learn it

In effect - if there is someway to have \voiceA changed to \voiceAA in the
example below, it would be a lot easier to make the global skeleton that
seems to be needed.


voiceA = {
\time 2/4
  \tempo Hurtigere 4 = 126
  r4\mp gis, |
  \time 3/4
  gis gis ais |
  \time 2/4
  b b |
  \time 3/4
  ais cis b |
  ais2.\fermata ~ |
}
voiceAA = {
 \time 2/4
  R2  |
  \time 3/4
  R2. |
  \time 2/4
  R2  | 
  \time 3/4
  R2. |
  R2. |
}






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Re: (no subject)

[Kieren MacMillan]

Hi,

> he doesn't want to use a global structure variable:

Sorry… I missed this.  =\

>> The reason I don't like the idea of a global "structure" definition is that
>> I have the individual parts (e.g. the quartet and the choir parts) defined
>> in seperate files to be able to test and work with them independently.

This isn’t an argument against a global structure.

>> Having the \time and \key definitions in a part that is "active" makes a lot
>> more sense to me compared to having them in an otherwise "empty" skeleton.

Well, *that* is an argument against a global structure… but it’s still forcing 
a duck (Lilypond) to do a horse’s work.  =)

Believe me, having just engraved over 25 minutes of music for 57 staves (full 
orchestra, massed choirs, etc.), and now facing two full stage musicals and a 
chamber opera, I know how great it would be if Lilypond put “only those things 
there”. I’ve been brainstorming and testing solutions for months. But the best 
mechanism I could come up with requires heavy tagging, which ruins the 
content-presentation separation — for me, that separation is far more important 
than avoiding “an otherwise ‘empty’ skeleton”.

Looking forward to seeing if anyone comes up with a better solution than I was 
able to find.

Best,
Kieren.
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Re: (no subject)

[Kieren MacMillan]

Hi,

> Not a bad idea - but I would then have to abandon the idea of the normal
> "rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
> duration of the ritardando.

Why not just put everything “global” in a global variable?
Then all of this is handled for you easily.

Thanks,
Kieren.
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Re: (no subject)

[Simon Bailey]

hi kieren,

On Wed, Jan 15, 2014 at 3:04 PM, Kieren MacMillan
 wrote:
>> In regards to tempo markings, it is a different matter, since any change in
>> tempo needs to apply to each and every voice in the system. It makes perfect
>> sense that the \tempo marking always goes to the System - I just don't
>> understand why it is much more difficult to give a ritardando or stringendo
>> the same behavior.
>
> It’s not… I do exactly this all the time.
> Simply put your ritardando or stringendo in the same global variable as your 
> \tempo and \mark items.

he doesn't want to use a global structure variable:

On Wed, Jan 15, 2014 at 1:49 PM, jensgc  wrote:
<...SNIP...>
> The reason I don't like the idea of a global "structure" definition is that
> I have the individual parts (e.g. the quartet and the choir parts) defined
> in seperate files to be able to test and work with them independently.
> Having the \time and \key definitions in a part that is "active" makes a lot
> more sense to me compared to having them in an otherwise "empty" skeleton.


@ Jens:

On Wed, Jan 15, 2014 at 1:49 PM, jensgc  wrote:
> I have tried the dynamics approach now - and I do indeed get the dynamics of
> the topmost voice printed twice (I used that voice to "fill" the dynamics
> content).
> I might be able to overwrite the "default" dynamics display of the topmost
> voice - so that the dynamics displayed above the top staff is only the
> content of the Dynamics - any idea if this will work?

you could use the following score definition:

%%% SNIP SNAP %%%
\score {
  <<
\new Dynamics = "TopSpanner" \with {
  \remove "New_dynamic_engraver"
} { \solosopran }
\quartetSystem
\choirPart
%\pianoReduction
>>

  \layout {
   \context {
  \Staff  \RemoveEmptyStaves
}
  }
}
%%% SNAP SNIP %%%

removing the "New_dynamic_engraver" _should_ suppress the dynamics,
but still leave the following engravers alive:

- Axis_group_engraver
- Bar_engraver
- Dynamic_align_engraver
- Output_property_engraver
- Piano_pedal_engraver
- Script_engraver
- Text_engraver
- Text_spanner_engraver
- Tweak_engraver

Of course, you can remove any other of these ones you don't need, and
leave only the Text_spanner_engraver if you so desire.
(cf. http://www.lilypond.org/doc/v2.18/Documentation/internals/dynamics ).

Regards,
sb

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Re: (no subject)

[jensgc]

Trevor Daniels wrote
> ?
> \tempo "ritardando"

Not a bad idea - but I would then have to abandon the idea of the normal
"rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
duration of the ritardando.

Think I'll try a feature request for a SystemSpanner 

- and perhaps a \startTempoChange \ritardandoAl  %%music%% \stopTempoChange

(with 2nd parameter options like \ritardando, \ritardandoAl, \rallentando,
\rallentandoAl, \stringendo, \stringendoAl)





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Re: (no subject)

[Kieren MacMillan]

Hi,

> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why it is much more difficult to give a ritardando or stringendo
> the same behavior.

It’s not… I do exactly this all the time.
Simply put your ritardando or stringendo in the same global variable as your 
\tempo and \mark items.

Hope this helps!
Kieren.
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Re: (no subject)

[Trevor Daniels]

jensgc wrote Wednesday, January 15, 2014 1:03 PM

> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why it is much more difficult to give a ritardando or stringendo
> the same behavior.

?
\tempo "ritardando"

Trevor
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Re: (no subject)

[jensgc]

jensgc wrote
> The reason I don't like the idea of a global "structure" definition is
> that I have the individual parts (e.g. the quartet and the choir parts)
> defined in seperate files to be able to test and work with them
> independently. Having the \time and \key definitions in a part that is
> "active" makes a lot more sense to me compared to having them in an
> otherwise "empty" skeleton.

To elaborate a bit: The score I'm working on uses highly polyphonic dynamics
- e.g. a crescendo, \mp or text annotation in one voice is not placed at the
same bar/note in the other voices. In that way, it doesn't really help to
put all dynamics in one place, because these markings are not vertically
aligned in the score. 

In regards to tempo markings, it is a different matter, since any change in
tempo needs to apply to each and every voice in the system. It makes perfect
sense that the \tempo marking always goes to the System - I just don't
understand why it is much more difficult to give a ritardando or stringendo
the same behavior.






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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
>> If I add the music from the topmost staff to a separate dynamics context
>> (placed above that staff), will dynamics context then be printed twice?
> 
> yes, that's correct. the music is suppressed, but the dynamics will be
> shown. this is why i suggested using a global structure definition
> which you can include in all voices (very useful for orchestral music
> where you have to generate parts).

I have tried the dynamics approach now - and I do indeed get the dynamics of
the topmost voice printed twice (I used that voice to "fill" the dynamics
content). 
I might be able to overwrite the "default" dynamics display of the topmost
voice - so that the dynamics displayed above the top staff is only the
content of the Dynamics - any idea if this will work?

The reason I don't like the idea of a global "structure" definition is that
I have the individual parts (e.g. the quartet and the choir parts) defined
in seperate files to be able to test and work with them independently.
Having the \time and \key definitions in a part that is "active" makes a lot
more sense to me compared to having them in an otherwise "empty" skeleton.

My current score definition is as follows: (\solosopran is one voice in the
\quartetSystem)

\score {
  <<
\new Dynamics = "TopSpanner" { \solosopran }
\quartetSystem
\choirPart
%\pianoReduction
>>

  \layout { 
   \context {
  \Staff  \RemoveEmptyStaves
}
  }
}





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Re: (no subject)

[Simon Bailey]

On Wed, Jan 15, 2014 at 11:28 AM, jensgc  wrote:
>
> Just a quick thought - if I with the temporary polyphony construct shown in
> your example can direct TextSpanner content to a special Dynamics context -
> would it then be possible to skip the Dynamic context (and the spacer
> definitions that go with it) and just use the topmost staff as the target?
> Or does it have to be a Dynamics and not a Staff context to work?

Of course.

> I could of cause also "fill" the dynamics context with the music for of the
> defined voices - but then I would assume that dynamics already defined in
> that voice would also be printed. Is that correct?
>
> If I add the music from the topmost staff to a separate dynamics context
> (placed above that staff), will dynamics context then be printed twice?

yes, that's correct. the music is suppressed, but the dynamics will be
shown. this is why i suggested using a global structure definition
which you can include in all voices (very useful for orchestral music
where you have to generate parts).

> An extra potential challenge - I use \RemoveEmptyStaves since there are long
> sections with empty bars in various voices (the topmost 4 voices form a solo
> quartet that is not active before bar 70).

if you put a dynamics context as topmost context in your score, i'm
not sure if RemoveEmptyStaves will also nuke that one. shouldn't
really matter though, as soon as you put something in that context, it
will be alive and shown again.

regards,
sb

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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
> this is untested, but what might work would be to set up your score
> with a Dynamics context at the top. Don't be mislead by it being
> called Dynamics, you can put ANYTHING in there, doesn't have to be
> Dynamics (I use one for putting pedal markings in piano staves for
> instance).
> 
> [...]
> 
> then in any voice define the text spanner in temporary polyphony:
> 
> 
> [...]
> 
> tenor = \relative c' {
>   % lots of music
>   % up to bar 125
>   <<
> \context Dynamics = "TopSpanner" { \ritardandoSpannerDefinitions
> s4\startTextSpan s2. | s2. s4\stopTextSpan }
> { % 2 bars of tenor music }
>   >>

Just a quick thought - if I with the temporary polyphony construct shown in
your example can direct TextSpanner content to a special Dynamics context -
would it then be possible to skip the Dynamic context (and the spacer
definitions that go with it) and just use the topmost staff as the target?
Or does it have to be a Dynamics and not a Staff context to work?

I could of cause also "fill" the dynamics context with the music for of the
defined voices - but then I would assume that dynamics already defined in
that voice would also be printed. Is that correct? 

If I add the music from the topmost staff to a separate dynamics context
(placed above that staff), will dynamics context then be printed twice? 

An extra potential challenge - I use \RemoveEmptyStaves since there are long
sections with empty bars in various voices (the topmost 4 voices form a solo
quartet that is not active before bar 70). 


 




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Re: (no subject)

[David Kastrup]

jensgc  writes:

> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
>
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to enter dynamics in a voice "without music" - for the score in
> question I have 16 voices each with their own (polyphonic) dynamic markings
> - and in a score where the time signature changes frequently, it is not
> trivial to write spacers until bar 125 to be able to put a dynamic mark in
> bar 126.

If you use a Dynamics context, you should be able to feed it complete
music (which you presumably have available in a music variable) and it
should only engrave the Dynamics.

-- 
David Kastrup

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Re: (no subject)

[Eluze]

jensgc wrote
> 
> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
> thanks for the answer. I am aware of the possibility to have the dynamics
> in a separate voice - and it might be the solution here. I am however not
> fond of having to enter dynamics in a voice "without music" - for the
> score in question I have 16 voices each with their own (polyphonic)
> dynamic markings - and in a score where the time signature changes
> frequently, it is not trivial to write spacers until bar 125 to be able to
> put a dynamic mark in bar 126. 
> 
> The overall tempo markings are currently defined in the first of the
> "active" voices in that particular bar - and the displayed tempo marking
> is automatically placed on top of the system. But when I try to make more
> dynamic tempo adjustments (ritardando, stringendo etc.) - that just as
> well as an overall tempo marking implicitly has a scope of the entire
> system - the displayed marking goes to the staff and not the system.
> 
> Are there any plans on making a "SystemSpanner" or similar that will
> combine the flexibility from the TextSpanner with the "only on top of
> system" property from \tempo and \mark ? 
> What I'd like to do is to write a command that puts the output of
> TextSpanner to the top staff in the system, regardless of which staff it
> is defined in. Is it possible by tweaking something or do I need to make
> the dynamics voice separate?

of course you can add the text spanner engraver to the Score:

\layout{
  \context{
\Score \consists Text_spanner_engraver
  }
  \context{
\Voice \remove Text_spanner_engraver
  }
}

if you plan to use spanners in the voices too you can not remove the
Text_spanner_engraver from the Voice and you would have to \override the
Voice.TextSpanner with empty properties each time you override a
Score.TextSpanner (this could be tedious...)

Eluze



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Re: (no subject)

[Simon Bailey]

hi,

On Wed, Jan 15, 2014 at 9:53 AM, jensgc  wrote:
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to enter dynamics in a voice "without music" - for the score in
> question I have 16 voices each with their own (polyphonic) dynamic markings
> - and in a score where the time signature changes frequently, it is not
> trivial to write spacers until bar 125 to be able to put a dynamic mark in
> bar 126.
>
> The overall tempo markings are currently defined in the first of the
> "active" voices in that particular bar - and the displayed tempo marking is
> automatically placed on top of the system. But when I try to make more
> dynamic tempo adjustments (ritardando, stringendo etc.) - that just as well
> as an overall tempo marking implicitly has a scope of the entire system -
> the displayed marking goes to the staff and not the system.
>
> Are there any plans on making a "SystemSpanner" or similar that will combine
> the flexibility from the TextSpanner with the "only on top of system"
> property from \tempo and \mark ?
> What I'd like to do is to write a command that puts the output of
> TextSpanner to the top staff in the system, regardless of which staff it is
> defined in. Is it possible by tweaking something or do I need to make the
> dynamics voice separate?

this is untested, but what might work would be to set up your score
with a Dynamics context at the top. Don't be mislead by it being
called Dynamics, you can put ANYTHING in there, doesn't have to be
Dynamics (I use one for putting pedal markings in piano staves for
instance).

%%% SNIP SNAP %%%
\version 2.18.0
global = {
  %% put tempo, rehearsal marks, meter changes etc. in this
  %% variable and reuse everywhere
  %% you'll need this anyway to keep the Dynamics context alive
  \tempo "funky"
  \time 4/4
  s1*18
  \tempo "Super fast"
  \time 3/8
  s4.*3
  \tempo "Miles Davies feel"
  \time 5/4
  s4*4*12
  \tempo "Laid back"
  \time 4/4
  %% etc., you get the idea
}

\score {
<<
  \new Dynamics = "TopSpanner" { \global}
  \new Staff = "s" { \soprano }
  \new Staff = "a" { \alto }
  \new Staff = "t" { \tenor }
  \new Staff = "b" { \bass }
>>
%%% SNAP SNIP %%%

then in any voice define the text spanner in temporary polyphony:

%%% SNIPP SNAPP %%%
\version 2.18.0
ritardandoSpannerDefinitions = {
  \once \override TextSpanner.bound-details.left.text = \markup
\italic "ritardando"
  \once \override TextSpanner.bound-details.left-broken.text = \markup
\italic \small "(rit.)"
  \once \override TextSpanner.bound-details.right.text = \markup \italic "al"
}

tenor = \relative c' {
  % lots of music
  % up to bar 125
  <<
\context Dynamics = "TopSpanner" { \ritardandoSpannerDefinitions
s4\startTextSpan s2. | s2. s4\stopTextSpan }
{ % 2 bars of tenor music }
  >>
  % lots more music
  % to end of piece
}
%%% SNAPP SNIPP %%%

This is the same principle as used for Ossia staves:
http://lilypond.org/doc/v2.18/Documentation/notation/modifying-single-staves#ossia-staves
(read the bit starting with "If many isolated ossia staves are
needed[...]" -- 3rd example in that section).

Like I said, this is completely untested and may or may not work
directly via copy/paste, but I think you get the idea. The syntax for
the TextSpanner is for 2.17 and later, so if you're using 2.16, you'll
have to use the following syntax: \override TextSpanner
#'(bound-details left text) = "rit."

Hope this helps, regards,
sb

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Re: (no subject)

[Urs Liska]

Am 15.01.2014 09:53, schrieb jensgc:

Are there any plans on making a "SystemSpanner" or similar that will combine
the flexibility from the TextSpanner with the "only on top of system"
property from \tempo and \mark ?


This sounds like a reasonable idea.
If it isn't possible to do something like this yet, I suggest adding it 
as a feature request.


Urs

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Re: (no subject)

[jensgc]

Eluze wrote
> you can define the spanner in its own (dynamic) context and move it
> wherever you want:

thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice "without music" - for the score in
question I have 16 voices each with their own (polyphonic) dynamic markings
- and in a score where the time signature changes frequently, it is not
trivial to write spacers until bar 125 to be able to put a dynamic mark in
bar 126. 

The overall tempo markings are currently defined in the first of the
"active" voices in that particular bar - and the displayed tempo marking is
automatically placed on top of the system. But when I try to make more
dynamic tempo adjustments (ritardando, stringendo etc.) - that just as well
as an overall tempo marking implicitly has a scope of the entire system -
the displayed marking goes to the staff and not the system.

Are there any plans on making a "SystemSpanner" or similar that will combine
the flexibility from the TextSpanner with the "only on top of system"
property from \tempo and \mark ? 
What I'd like to do is to write a command that puts the output of
TextSpanner to the top staff in the system, regardless of which staff it is
defined in. Is it possible by tweaking something or do I need to make the
dynamics voice separate?






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Re: (no subject)

[Eluze]

Jens Gyldenkærne Clausen wrote
> Hi. In a large choral score I'd like to write a ritardando that appears
> only in the top of the entire system (together with \tempo markings) -
> without having to define the ritardando in the topmost staff. The voices
> in
> the top staffgroup have no music (just a long series of rests) where the
> ritardando is to be placed.
> 
> Is it possible to define a spanner in one voice and then move the text to
> be positioned above the top staff?
> In the example below I'd like to have "rit _ _ _ _ _ _al  Lento" in the
> top
> of the system.

you can define the spanner in its own (dynamic) context and move it wherever
you want:

myDynamics={
  \override TextSpanner #'(bound-details left text) = "rit."
  \override TextSpanner #'(bound-details right text) = "al"
  \override TextSpanner #'(bound-details right attach-dir) = #LEFT
  s2. s4
  \startTextSpan
  s2. s4
  \stopTextSpan
  s1
}
<<
  \new Dynamics \myDynamics
  \new Staff { R1*3 }
  \new ChoirStaff <<
...
...

Eluze



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[no subject]

[Jens Gyldenkærne Clausen]

Hi. In a large choral score I'd like to write a ritardando that appears
only in the top of the entire system (together with \tempo markings) -
without having to define the ritardando in the topmost staff. The voices in
the top staffgroup have no music (just a long series of rests) where the
ritardando is to be placed.

Is it possible to define a spanner in one voice and then move the text to
be positioned above the top staff?
In the example below I'd like to have "rit _ _ _ _ _ _al  Lento" in the top
of the system.


Here's my attempt at a tiny example:


\version "2.16.2"

 soprano = \relative c' {

\repeat unfold 2 { c8 e g }

\override TextSpanner #'(bound-details left text) = "rit."

\override TextSpanner #'(bound-details right text) = "al"

\override TextSpanner #'(bound-details right attach-dir) = #LEFT

 d4\startTextSpan

\repeat unfold 2 { c8 e g }

c d \stopTextSpan

\tempo Lento

e2 d

}

alto = \relative c'' {

\repeat unfold 4 { g4 e g }

}

 \score {

<<

\new Staff { R1*3 }

 \new ChoirStaff <<

\new Staff

\new Voice \soprano

\new Staff

\new Voice \alto

>>

 >>

}
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[no subject]

[Peter Gentry]

Message: 2
Date: Thu, 5 Dec 2013 18:34:53 +0100
From: Janek Warcho? 
To: Jacques Menu 
Cc: "lilypond-user@gnu.org discuss" 
Subject: Re: improving LilyPond useability
Message-ID:

Content-Type: text/plain; charset=UTF-8

2013/12/4 Jacques Menu 
> My recent experience creating choir scores for the first time, one of 
> them with difference words a given stanza in a repeated part (see 
> attachments), makes me think it would help to have off-the-shelf *commented* 
> samples of some size and complexity, as a complement
to the existing snippets.

>>Sounds like a good idea.  I could add some real-life score examples of my own.
>>Where would you place such material?  A new manual, or in an existing one?

>>Janek

This is an excellent suggestion, examples of small ensembles of various genres 
suitably authorised by the keepers of the runes would
be invaluable to the beginner.

These should be as free as possible of "tweaks" as these will confuse and 
de-motivate the uninitiated.

As much as is possible instructions should be intuitive - you cannot really say 
that for most Lily tweaks though.

regards
Peter Gentry 



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[no subject]

[Tommaso Gordini]

Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:

"Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
»

A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:

\newcommand {\betweenLilyPondSystem}[1]{\vspace{<*length*>}\linebreak}

This command inserts a vertical space equal to <*length*> between a system
of staves and the next one. And it works well in my document

I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation of my
document. What should these two commands exactly? Maybe insert space before
and after the example of music? How they must be used?

I'm writing a .tex document compiled with XeLaTeX tex in which use
lilypond-book for musical snippets. Before and after

\begin {lilypond[<*options*>]
...
\end {lilypond}

I use explicit spacing commands such as \smallskip, \medskip and \bigskip,
but I know that this is not the correct way. Looking at the name '
\preLilyPondExample' I thought that this command automatically put a space
before each lilypond environment. An alternative is to put in turn
lilypondenvironments inside a
center environmen:

\begin{center}
   \begin{lilypond}[<*options*>]
   ...
   \end{lilypond}
\end{center}

What would you do in this situation?

Here is my preamble (I work on Mac OS X 10.6.8):

% !TEX encoding = UTF-8 Unicode
% !TEX TS-program = LilyPond-Book
% !LILYPOND tex = xelatex

\documentclass[%
   documentstructure=book,%
   style=elements,%
   captionstyle=italic,%
   tocstyle=ragged,
   crop=false%
   ]{suftesi}
% pacchetti specifici di xetex
\usepackage{ifxetex}
\ifxetex
\usepackage[T1]{fontenc}
\usepackage{fontspec}
\setmainfont[Ligatures=TeX,Numbers=OldStyle]{Garamond Premier Pro}
\setsansfont[Scale=MatchLowercase]{Iwona}
\usepackage{polyglossia}
\setmainlanguage{italian}
\setotherlanguages{english,french,german}
\usepackage{lilyglyphs}
\else
\fi
% pacchetti comuni a xetex e pdftex
\usepackage{graphicx}
\graphicspath{{immagini/}}
\captionsetup{font={rm,it,small},justification=centering}
\usepackage{subfig}
\usepackage[italian]{varioref}
\usepackage[output-decimal-marker={,},detect-all]{siunitx}
\usepackage[hidelinks]{hyperref}

% nuovi comandi
\newcommand{\bemolle}{\ifxetex\,\lilyGlyph[scale=1.3,raise=0.5]{accidentals.flat}\else\fi}
\newcommand{\diesis}{\ifxetex\,\lilyGlyph[scale=1.1,raise=0.6]{accidentals.sharp}\else\fi}
\newcommand{\naturale}{\ifxetex\,\lilyGlyph[scale=1.2,raise=0.6]{accidentals.natural}\else\fi}
\newcommand{\ditoi}[1]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}\else\fi}
\newcommand{\ditoii}[2]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}\else\fi}
\newcommand{\ditoiii}[3]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}-\lilyText[scale=1,raise=-0.05]{#3}\else\fi}
\newcommand{\betweenLilyPondSystem}[1]{\vspace{5mm}\linebreak}

% comincia il documento
\begin{document}

Ciao e grazie
Tommaso
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[no subject]

[Tommaso Gordini]

Hello to all,
here's a minimal code:

%%

\version "2.16.2"



\relative c {

\clef "bass"

\key c \major

\cadenzaOn

c,2

^\markup { \tiny { Serie armonica del fa (+: crescente; -: calante) } }

^\markup {\small { Corno in Fa } }

c' \clef "treble" g' c e g \stemUp bes4-- \stemDown c2 d e f4-+ g2 a4--
bes-+ b2 c

\cadenzaOff \bar "||"

}

\layout {

\context {

\Staff \remove "Time_signature_engraver"

}

}
%%

The quarter notes marked with '-' are waning, quarter notes marked with ''
are increasing. What is the correct way to indicate it? I tried to draw the
arrows, but I could not do it.
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[no subject]

[Christopher Reed]

hello can someone please help me export my file to lilypond it will not do
it for some reason :(
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[no subject]

[ghe]

Is it possible, with LilyPond, to have something like the "\hfill" effect 
in TeX, that is, "fill the rest of the staff with blank space"?


If I type:

{ a b c d \break a b c d \bar "|." }

the layout is ugly because the notes are spread over the whole staff.  I 
know that:


\layout {
  ragged-right = ##t
  ragged-last = ##t
}

will give a better output, but then the staffs are only one measure long. 
What I would like to have is something like:


{
a b c d
\repeat unfold 14 { s1 } \break
a4 b c d \bar "|."
\repeat unfold 16 { s1 } \break
}

but without the added measure bars.

Thanks in advance,

--ghe

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[no subject]

[Helge Kruse]

Hello,
I start typesetting some songs. I know how to add the lyrics. But the
one song has a short chorus in front of the verses. This looks similar
like this

when I come home
I like the cho - rous {  when I sleep at night
but can't live a - lone.

Okay, the text is nonsense. The melody is unimportant. But the first
words ("chorus") should appear only once. Than follow 4 verses. This
is hard to describe with ASCII-style art. I would like to write a
large opening brace from the fist line to the last line, if this is
possible with little effort.

Can you point me to the documentation, I think this should be
documentation in the NR. But I failed to find it.

Regards
Helge

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[no subject]

[bblochl]

I am a new user of lilypond and tried the (unchanged) example 
Defining predefined fretboards for other instruments
from
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings#Fretted-strings

To my regret I cannot compile it with version "2.14.2"
I get an error list starting with 

fretneu2:19:24: Fehler: syntax error, unexpected MUSIC_IDENTIFIER
\storePredefinedDiagram 
\dSix
...

followed by all the other chords in the example
and ending with  

...
Interpretation der Musik...ERROR: In procedure ly:pitch-semitones:
ERROR: Wrong type argument in position 1 (expecting Pitch): 11

Could anyone please check the example if there is something wrong with it or is 
it me?

Regards


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[no subject]

[ed stuckems]

What's special about the \clef command in the following:

According to section 2.2.1 of the manual:

"To determine the number of staves in a piece, LilyPond looks at the
beginning of the first expression. If there is a single note, there is
one staff; if there is a simultaneous expression, there is more than
one staff."

This would appear to be the case in the following:

<<
 { f a c e }
 { e g b d }
>>

However, if a \clef is specified, the statement doesn't appear to
hold.  For example, the following doesn't produce multiple staves
despite the fact that the beginning of the first expression starts
with simultaneous expression like the example above:

<<
 { f a c e }
 { \clef "bass" e g b d }
>>

In this case, both expressions are placed on one staff beginning with
a bass clef.  I infer that there something special about the use of
\clef that causes lilypond to re-examine the multiple staves vs single
staff assessment. When I looked up the \clef command, there was
nothing that indicates the command has side effects.

In order to get the two staves, you must prefix each expression with a
\new Staff as in the following:

<<
 \new Staff { f a c e }
 \new Staff { \clef "bass" e g b d }
>>

So my question is "why does adding the \clef also require adding the
"\new Staff" when section 2.2.1 suggests otherwise?"  What have I
missed?

regards,
eds

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[no subject]

[MING TSANG]

 
Blessing in+,___
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[no subject]

[MING TSANG]

LP users,

I encounter compile error from init.ly. Can anyone experience this before?



Detail of the error .

Starting lilypond-windows.exe 2.14.2 [definities-1159.ly]...
Processing `D:/mingtsang-2/lied-1159/definities-1159.ly'
Parsing...
C:/Program Files (x86)/LilyPond/usr/share/lilypond/current/ly/init.ly:37:0: 
error: syntax error, unexpected SCM_TOKEN
#(if (and (ly:get-option 'old-relative)
error: failed files: "D:/mingtsang-2/lied-1159/definities-1159.ly"
Exited with return code 1.
 
Blessing in+,
Ming.
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[Stefan Thomas]

Dear community,
I have the following problem, which is more a problem with rumor and linux
than with lilypond.
When I type

> rumor --oss
>
I get

Can not open /dev/sequencer

When I just type rumor
I get

> ALSA port connection error; do it manually using `aconnect'
>
and it doesn't react von midi-input.
What can I do now to get it working?
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Re: (no subject)

[-Eluze]

ymingt wrote:
> 
> I compile the .ly file in v2.15.14, there is a programming error and a
> warming.  The generated output .pdf file seems OK.
> Questions:
> 1.  what is a programming error?  Where can I find explaination in NR?  --
> red text below.
> 
> 2.  what is the warning complain about (no line # reference given - don't
> know where to look)? what is (#). -- blue text below  
> 
> 
> 
>> %lilypond %args
>> "C:\Users\Tsang\Dropbox\Lyndon\LiLy\god-has-reigned\god-has-reigned_SA-TB.ly"
> Processing
> `C:/Users/Tsang/Dropbox/Lyndon/LiLy/god-has-reigned/god-has-reigned_SA-TB.ly'
> Parsing...
> programming error: file name not normalized:
> d:\lily_pond\include_paper-X3.ly
> 
often this means that other folder seperators are expected (os-dependent):
under windows you should use a / instead of \


> continuing, cross fingers
> warning: Spurious garbage following chord: (#)
> 
i couldn't tell without seeing this "garbage" - can you provide the code for
this!?

Eluze

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[no subject]

[MING TSANG]

I compile the .ly file in v2.15.14, there is a programming error and a 
warming.  The generated output .pdf file seems OK.
Questions:
1.  what is a programming error?  Where can I find explaination in NR?  -- red 
text below.

2.  what is the warning complain about (no line # reference given - don't know 
where to look)? what is (#). -- blue text below  



> %lilypond %args 
> "C:\Users\Tsang\Dropbox\Lyndon\LiLy\god-has-reigned\god-has-reigned_SA-TB.ly"
Processing 
`C:/Users/Tsang/Dropbox/Lyndon/LiLy/god-has-reigned/god-has-reigned_SA-TB.ly'
Parsing...
programming error: file name not normalized: d:\lily_pond\include_paper-X3.ly
continuing, cross fingers
warning: Spurious garbage following chord: (#)
Interpreting music... [8][16][24][32][40][48][56][64][72][80][88]


 
Blessing in+,
Ming
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[no subject]

[rob]

hi!

i have a definition that takes a list as an argument

\include "bezier.ly"
beza = {
  \bezier #'( 0.1  1.0 0.15  1.0 0.5 )
}

i would like to be able to assign one of the elements of the list with a
variable like this

beza #0.4

feeding into something like this

beza =  #(define-music-function (parser location thickness) (number?)
   #{
\bezier #'( 0.1  1.0 0.15  1.0 $number )
}


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Re: (no subject)

[-Eluze]

Paul Thompson-13 wrote:
> 
> I am having an error in using lilypond 2.13.38
> 
> Here is my input file:
> 
> \book {
>   \bookOutputName "Romanze"
> a a a
> }
> \book {
>   \bookOutputName "Menuetto"
> \score{
>a a a
> }
> }
> 
> I am getting a persistent error:
> 
> testa.ly:3:4: error: syntax error, unexpected NOTENAME_PITCH
> 
>  
> I am inexperienced, but have gone thru the manual.
> 
> Paul Thompson
> 
> 

see the NR:

3.1.1 Structure of a score
A \score block must contain a single music expression delimited by curly
brackets:
\score {
...
}
 
Note: There must be only one outer music expression in a \score block, and
it must be
surrounded by curly brackets.

hth
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[Paul Thompson]

  I am having an error in using lilypond 2.13.38Here is my input file:\book {  \bookOutputName
 "Romanze"    a a a}\book {  \bookOutputName "Menuetto"\score{   a a a}}I am getting a persistent error:testa.ly:3:4: error: syntax error, unexpected NOTENAME_PITCH I am inexperienced, but have gone thru the manual.Paul ThompsonO: 605-312-6462M: 618-974-0473H: 605-332-1587F: 605-328-0401909 N. Charleston CircleSioux Falls, SD 57110605-332-1587
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[no subject]

[David Raleigh Arnold]

In
/v2.6/Documentation/topdocs/NEWS.html:
The SVG backend is now a fully functional backend.

Please, can this be fixed this in 2.12?  It is hardly a new feature.
Hasn't it been out of commission long enough?  TAI.  Regards, daveA


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[Stefan Thomas]

Dear Sandeep,
Yes, there is an solution, hope You can use it:
#(define  (naturalize-pitch p)
  (let* ((o (ly:pitch-octave p))
 (a (* 4 (ly:pitch-alteration p)))
; alteration, a, in quarter tone steps, for historical reasons
 (n (ly:pitch-notename p)))
(cond
 ((and (> a 1) (or (eq? n 6) (eq? n 2)))
  (set! a (- a 2))
  (set! n (+ n 1)))
 ((and (< a -1) (or (eq? n 0) (eq? n 3)))
  (set! a (+ a 2))
  (set! n (- n 1
(cond
 ((> a 2) (set! a (- a 4)) (set! n (+ n 1)))
 ((< a -2) (set! a (+ a 4)) (set! n (- n 1
(if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7
(if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7
(ly:make-pitch o n (/ a 4

#(define (naturalize music)
  (let* ((es (ly:music-property music 'elements))
 (e (ly:music-property music 'element))
 (p (ly:music-property music 'pitch)))
(if (pair? es)
(ly:music-set-property!
 music 'elements
 (map (lambda (x) (naturalize x)) es)))
(if (ly:music? e)
(ly:music-set-property!
 music 'element
 (naturalize e)))
(if (ly:pitch? p)
(begin
  (set! p (naturalize-pitch p))
  (ly:music-set-property! music 'pitch p)))
music))

naturalizeMusic =
#(define-music-function (parser location m)
(ly:music?)
(naturalize m))
#(define vereinfachs naturalizeMusic)
%Enharmonische Verwechslung
%Nur Kreuze zeigen
kreuze = #(define-music-function (parser location x) (ly:music?)
 #{
  \transpose  ges fis  $x
 #})
%nur Bes zeigen
bees = #(define-music-function (parser location x) (ly:music?)
 #{
  \transpose  fis ges  $x
 #})
meistkreuze = #(define-music-function (parser location x) (ly:music?)
 #{
  \vereinfachs  \transpose  ges fis  $x
 #})
meistbees = #(define-music-function (parser location x) (ly:music?)
 #{
  \vereinfachs  \transpose  fis ges  $x
 #})
You can use it like:
\new Staff { \transpose c, c { \kreuze ges1 \bees fis \meistkreuze {c d es e
fis g a b }   }}
Note, that it doesn't not work in relative mode.
I usually use the possbilitie to expand abbreviations in Frescobaldi.
I type s then   and then I get "\kreuze"

> Hi list,
>
> Is there a scheme snippet that will reprint a sharp as the enharmonic
> flat if it appears after a flat, reprint a flat as the enharmonic
> sharp if it appears after a sharp, and leave a note alone if it
> appears after a natural?  Better yet would be if it always left fis
> and bes alone.
>
> Thanks very much,
> Sandeep
>
>
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[no subject]

[Stefan Thomas]

Dear Patrick,
Yes, why not using latex and vector-graphic, but I also don't know how to do!
But I guess, that everything, that we need can be done by lilypond itself.
Cheers
Stefan

Dear Stefan,
>
> thanks for your snippet. That's about what I was looking for. I like your
> idea
> of jointly building a library of functional/degree theory symbols. I will
> experiment with your code. In my attachment I produced the symbols with the
>
> LaTeX package ÂharmonyÂ. Maybe it is possible to use LaTeX-Code in
> ly-files?!
> It might be even easier to produce the symbols with Inkscape as Hugo
> Ribiero
> proposed yesterday. It is probably the faster way. But I have no idea how
> to
> include vector graphics in ly-files.
>
> This could also be an idea for a future LilyPond function: some sort of
> harmonic mode in which chords are analysed in their functional context and
> marked with a symbol (just like the chord mode does for chord names). It
> would
> be brilliant if one could also type in functional symbols and thus produce
> a
> chord progression without e.g. octave parallels. â
>
> Cheers
> Patrick
>


 Original-Nachricht 
>* Datum: Mon, 15 Jun 2009 16:04:32 +0200*
>* Von: Stefan Thomas *
>* An: addr...@hidden, lilypond-user *
>* Betreff: Re: Subject: functional/degree theory ? symbols*

>* Dear Patrick,*
>* Yes, it is possible to get these symbols. See this snippet:*
>* \version "2.13.0"*
>* % Inspired by slashed-digit from scm/define-markup.scm:*
>* #(define-markup-command (slashed-char layout props ch) (char?) "A*
>* character,*
>* with slash."*
>* (let**
>* ((mag (magstep (chain-assoc-get 'font-size props 0)))*
>* (thickness*
>* (* mag*
>* (ly:output-def-lookup layout 'line-thickness)*
>* (chain-assoc-get 'thickness props 1.6)))*
>* (char-stencil (interpret-markup layout props ch))*
>* (num-x (interval-widen (ly:stencil-extent char-stencil X)*
>* (* mag 0.1)))*
>* (num-y (ly:stencil-extent char-stencil Y))*
>* (is-sane (and (interval-sane? num-x) (interval-sane? num-y)))*
>* (slash-stencil*
>* (if is-sane*
>* (ly:make-stencil*
>* `(draw-line*
>* ,thickness*
>* ,(car num-x) ,(car num-y)*
>* ,(cdr num-x) ,(cdr num-y))*
>* num-x num-y)*
>* #f)))*
>* (ly:stencil-add char-stencil slash-stencil)))*
>* *
>*  Dsiebenfuenfverkuerzt = \markup {  \slashed-char #"D" \super 7   \hspace*
>* #-3 \sub 5  }*
>*  verkuerzter= #(define-music-function (parser location x) (ly:music?)*
>* #{*
>*\context Voice <<$x { \once \override TextScript #'extra-offset*
>* =*
>* #'(0 . 2.1)  s1*0_\Dsiebenfuenfverkuerzt} >> }*
>* #})*
>* % um die Funktionen auf eine hÃhe zu kriegen:*
>* % \override TextScript #'staff-padding = #3.0*
>* % erst mal die Hauptfunktionen*
>* Tonika = \markup {T}*
>* T = #(define-music-function (parser location x) (ly:music?)*
>* #{*
>*\context Voice <<$x { \once \override TextScript #'extra-offset*
>* =*
>* #'(0 . 2.1)  s1*0_\Tonika} >> }*
>* #})*
>* Dominantterzquart = \markup {D { \hspace #-2 \sub 5   \hspace #-1.75*
>* \super*
>* \small 7  } }*
>* Dsiebenfuenf = #(define-music-function (parser location x) (ly:music?)*
>* #{*
>*\context Voice <<$x { \once \override TextScript #'extra-offset*
>* =*
>* #'(0 . 3.1)  s1*0_\Dominantterzquart} >> }*
>* #})*
>* *
>* *
>* *
>* *
>* \new Staff { \clef bass \T c1  \verkuerzter f \Dsiebenfuenf b,  }*
>* \layout{*
>*   \context { \Staff  \override TextScript #'staff-padding = #4.0 }  }*
>* *
>* It makes sense, to define a library with all these definitions.*
>* I've already started with it, but im not finished with it. Would You like*
>* to*
>* work together with me, to biuld a library with all symbols, that one could*
>* need for german-class "Harmonielehre"?*
>* One question to the community:*
>* When I compile this file I get the message:*
>* :3:1: error: syntax error, unexpected '}'*
>* I don't know why!*
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[no subject]

[fa070232]

How to make an easy installation on vista ? I have very little it background.

Best regards 

Edmond.___
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[no subject]

[Luca Rossi]

Hi.

Given these three bars:

{c c c c | c c c c | c c c c}

with the following output:



1) I would like to change the spacing of the second bar in  



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[no subject]

[Ralph Palmer]

Greetings -

I'm running LilyPond 2.11.53 under WinXP SP2.

I'm trying to add ossia to a traditional Nova Scotian fiddle tune, and
I can't figure out how to get rid of the initial clef in the ossia
staff. I've tried using explicitClefVisibility, but I can't get it to
work. Anyone have any suggestions? I can't seem to connect to the
Snippet Repository; has it moved, or is this intermittent?

I'm including the whole file, since it's not long anyway.

Peace,

Ralph

% BEGIN SNIPPET  %

% Created on Mon Aug 11 17:53:13 EDT 2008
\version "2.11.53"

\header {
title = "The Night We had the Goats"
meter = "reel"
arranger = "traditional (Cape Breton)"
}

\include "english.ly"
%\include "definitions.ly"


staffViolin =   {
%{
\time 2/2
\set Staff.instrumentName="Violin"
%   \set Staff.midiInstrument="violin"
\key e \minor
\clef treble
\relative c'' { 
%}
<<  

\new Staff \with
{
% No time signature in the ossia staff
\remove "Time_signature_engraver"
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'thickness = #(magstep -3)
firstClef = ##f
}
\relative c''
{
\stopStaff
\partial 8 s8 |
s1 |
\startStaff
e8^"variation" fs g fs e d b e |
\stopStaff
s1*3 |
\startStaff
e8^"variation" fs g fs e d b e |
\stopStaff
s1*10
}
\new Staff \relative c'' {
\time 2/2
\set Staff.midiInstrument="violin"
\key e \minor
\clef treble
\partial 8 b8 \mark \markup { \musicglyph #"scripts.segno" } |
d8[ g,] g16[ g g8] b8 g b d |
e4\trill e8 g d b a b |
d8 g, g16 g g8 b g b d |
d8 g d b a4 a8 b |
\break
d8 g, g16 g g8 b g b d |
e4\trill g\trill d8 b a b |

 \relative c''
 {
d8 g, g16 g g8 b g b d |
e8 g d b a4
\bar "||"
\break
% Part B
b8 d |
e4 e8 g d b b d |
e4\trill e8 g d e g4\trill |
\times 2/3 { a8( g fs) } g e d b b d |
e8 g d b a4 b8 d |
\break
e4 e8 g d b b d |
e4\trill e8 g d e g a |
b8 a g e d b b d |
e8 g d b a4 a8 b_\markup { \italic {"D.S."}} |
 \bar "|."
 }
}
>>
}




\score {
<<
\staffViolin
>>

\midi {
}

\layout  {
indent = 0
\context { \Score \remove "Bar_number_engraver" }
}
}

\paper {
}

%% END SNIPPET %



-- 
Ralph Palmer
Greenfield, MA
USA
[EMAIL PROTECTED]


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[no subject]

[Kieren MacMillan]

Hey Graham (et al.):

I'm back out of my rabbit hole for a while...  =)

What can I do to help the docs project? At one point, we were talking  
about me doing some "large scale", "real world" examples — putting  
together a real tutorial on chord name changes, revamping the  
examples on stylesheets, trying to develop comprehensive transposing- 
part guidelines, etc. — and that's still fine by me, if that's the  
best use of my skills and time.


Best wishes,
Kieren.

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[no subject]

[muzikar . petr]

Hello.

In the following example I need all the stems to be up.

<<{c1} \\ {c8 f a d e d a f}>>

How could I do it? I tried to put \stemUp anywhere but it didn't work.
I'm sorry if my question is stupid. I'm a newbie.

Thank you for any answers.

Petr Muzikar



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[no subject]

[Ole Schmidt]

Dear all,

I want to have both of the first two notes tied -the d and the f- 
sharp. How do I achieve that?

Thanks for a hint

ole

%%%

\version "2.10.15"

 \new Staff {
 \time 3/4

 \relative c' {

r4 2| \voiceOne

<< { fis8. d'16 }  \new Voice = "1" { \voiceTwo d,4  }  >> \oneVoice  
r2 |


 } }

%%


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[no subject]

[Stefan Kägi]

[EMAIL PROTECTED]



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[no subject]

[Joseph Haig]

I am trying to get an "ossia" section like the example in section
6.4.8 of the user guide, but for a voice within a ChoirStaff.
Attached is my attempt at modifying the example but a clef and time
signature appear at the start of the line (also, a key signature would
appear if there were one).  Is there a way to get round this?  I want
to use this in a score with several lines it should appear next to a
specific line rather than in a separate staff.

Thanks,

Joe


test3.ly
Description: Binary data


test3.pdf
Description: Adobe PDF document
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[no subject]

[Tao Cumplido]

And yet another problem.
In the following code bar 23 is only 7 instead of 8 16ths long.
I marked the part in the code.
I can't figure out what's wrong, maybe someone can help me here.
Thanks in advance.

Tao


{
\time 2/4
\key d \minor
\partial4
\relative c''
{
r16 f8 cis16 |
\repeat volta 2
{
16 d8 a16 c8 bes | 
8. 16 r a16( b cis) | 
d16( cis d e f e f g) |
8. 16 r f8 cis16 | 
16 d8 gis,16 a8 b | 
c16( e, a c e c' b a) |
gis16( f e d c b a gis) |
16( a g cis,) r f'8 cis16 |
16 d8 a16 c8 bes | 
8. 16 r a16( b cis) | 
d16( cis d e f e f g) |
8. 16 r bes16( a g) |
fis16( es d c bes a g fis) |
g16( d g bes d g a bes) |
a16( gis a f') e( g, a e') |
}
\alternative
{
{ 4 r16 f,8 cis16}
{ 4 r16 c,8 d16 }
} \bar "||"

<< { e8. e16 g8. g16 } \\ { bes,8. bes16~ bes4 } >> |
<< { d8. d16 r c8 d16 } \\ { a8. a16~ a4 } >> |
e'16( c8 d16 e f g gis) |
a8. a16 r 8 fis16 |
8.( 16) r 8 e |
8.( 16) r e8 d16 |  % <- bar 23 is cut by a 16
c16( e, a c) b( d, e b') |
8. 16 r c8 d16 |
<< { e8. e16 g8. g16 } \\ { bes,8. bes16~ bes4 } >> |
<< { d8. d16 r c8 d16 } \\ { a8. a16~ a4 } >> |
e'16( c8 d16 e f g gis) |
a8. a16 r 8 fis16 |
8.( 16) r 8 b16 |
8.( 16) r cis( d a) |
c!16( bes d, dis e c a' g) |
}
}
-- 
Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! 
Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer


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[no subject]

[lala lala]

Hi ! I try to use markup text and \with-url. That works fine if I authorized 
point-and-click. But if I run lilypond with the -dno-point-and-click option I 
don't have link in my PDF. Is it a known issue ? If not to reproduce it I 
enclose a test file.If you run lilypond test.ly. The pdf file contains links to 
lilypond.org and gnu.org.If you run lilypond -dno-point-and-click. The pdf file 
doesn't link to them.Any way to solve this ? I really need links to site in my 
document but no point and click.Thanks a lot !Lasconic
_
Essayez Live.com, votre nouvelle page d'accueil ! Personnalisez-la en quelques 
clics pour retrouver tout ce qui vous intéresse au même endroit.
http://www.live.com/getstarted\version "2.10.17"
 \header{
  title = "title "
  tagline=\markup {Music engraving by \with-url #"http://www.lilypond.org"; {Lilypond} }
  copyright = \markup { \with-url #"http://www.gnu.org"; {GNU}}
}


 
 sopranoMusic = \relative c' {
   \clef treble
   \key c \major
   \time 4/4
 
   a4 b c d 
 }
 
 sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
 celloMusic = \relative c {
   \clef bass
   \key c \major
   \time 4/4
 
   d4 g fis8 e d4
 }

 \score{
   <<
 <<
   \new Voice = "one" {
 \autoBeamOff
 \sopranoMusic
   }
   \new Lyrics \lyricsto "one" \sopranoLyrics
 >>
 \new Staff \celloMusic
   >>
   \layout { }
   \midi { \tempo 4=60 }
 }
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[no subject]

[Ole Schmidt]

Dear all,

I use Trillspanners without the "tr" at the beginning (left side) for  
"vibrato ampio"

Yesterday Night I downloaded the last version of LP (2.11.15-1).
Now my tweak below does not work any more but I'am not sure if this  
is the reason


\override Voice.TrillSpanner #'edge-text = #'("" . "")

I put it into the \newStaff {

Thank you for help

ole


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[no subject]

[libros]

Good morning!

Today I downloaded LilyPond, gave it a first try, and liked it a lot.  
So I will see if I can get to learn the how-to. I have started with  
my string quartet ( I still prefer to write with my own hands, but it  
is a nice way to practise) and with some didactical work for my  
pupils. I got some useful advise from Mats and now this little new  
path in life lays all spread in front of me...


Of course, I find an enormous quantity of things that somehow don't  
work as they should just yet, but I have started reading that pdf  
user manual. I will post, if it is all right in this place, some  
questions as they arise and I don't find the answer in the documents.


But something aesthetic comes to mind: do people refer to LilyPond as  
"Lily"? That gives the work a nice female name. But maybe one should  
not first-name her before getting well acquainted.


Nice to meet you all,

Manuel


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[no subject]

[Monk Panteleimon]

In trying to use the OOoffice LP macro, I get:

Parsing..ERROR: unbound variable: ly:parser-print-score

I suppose this is because the templates are designed for LP 2.6 and I'm using 
2.8. but I don't know what to change in the templates to make them work.
Can someone tell me?
Many thanks, especially to Samuel Hartmann. 

Fr. P


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[running . tostandstill]

Right, that looks like an excellent start. I don't know much scheme; could
I 
pass variables into that? Thing is, as it stands, i'll have to define 
multiple versions of the same thing, with different coordinates for 
control-points.

Ideally, I'd have a... function?... into which I can pass two lists of 
coordinates.

Thanks,
Stewart

- Original Message - 
From: "Kieren MacMillan" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Cc: 
Sent: Tuesday, September 19, 2006 6:40 PM
Subject: Re: [slur tweaks over line breaks]


> Hi, Stewart:
>
>> Is there any way of doing this over line-breaks? Is this a bug, or  could
>> it be a sponsored feature to make this work?
>
> See  Difficult-tweaks.html#Difficult-tweaks> for a similar example  regarding

> Tie.
>
> Good luck!
> Kieren. 


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[running . tostandstill]

Greetings,
 
I attach a minimal example of my problem. I have some tweaking to do of slurs,
by overriding control-points. I have hit a problem when I try to do this
across a line-break; as can be seen in the attached file.
 
Is there any way of doing this over line-breaks? Is this a bug, or could
it be a sponsored feature to make this work?
 
Thanks,
Stewart

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\relative
{
	\time 4/4
	\once \override Slur #'control-points = #'((0 . 0) (5 . 5) (10 . 5) (15 . 0))
	c4 ( d e f | \break
	g a b c ) |
}
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[no subject]

[Ezequiel Sierra]

Im having problems with this file

http://www.ezequielsierra.com/1.txt

Lyrics Jumping to next staff
Removing Staff Numbering
Adding repeat to the end of the song


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[no subject]

[Father Panteleimon]

Geoff said:
Every now and then, assigning durations to syllables really is easier than
\lyricsto. I was trying it with long-duration notes and ran into a
problem--\breve is not interpreted as a duration in Lyrics context.

Fr. P says:
I think you can do this: { word1*4 } That's the same duration as breve,
right?



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[no subject]

[Stewart Holmes]

Hi,
 
I'm trying to move some dynamics downards. From 
various places from the internet, I've come up with:
 
   \context Staff = 
violini   <<\property 
Staff.DynamicLineSpanner \override #'direction = 
#-1\global\set 
Staff.instrument = "Violin I"\set Staff.instr = 
"Vln. 
I"\violini\override 
Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-5 . 
5)   >>
However, I get some kind of error about \property. 
(The dynamics I refer to by the way are attached to the notes in 
\violini.
 
Cheers,
Stewart
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Re: al niente / de niente - was Re: (no subject)

[Mats Bengtsson]

Quoting Marcus Macauley <[EMAIL PROTECTED]>:

As an alternative to the second method -- and a perhaps more 
conventional  one, recommended by Kurt Stone -- niente can be notated 
not with the  dynamic letter "n" but with the italic "n." (this time 
with a period).  This should be possible to do now, but I can't 
figure out how to switch  off the boldface:


n = #(make-dynamic-script (markup #:text #:italic "n." ) ) % This 
makes  the text bold-italic.


n = #(make-dynamic-script (markup #:text "n." ) ) % In fact, even 
this  makes it bold-italic, as if that's the default text font style. 
Why? And  how to switch it off?


The simple reason is that dynamics by default have bold face turned on. 
For situations like these, where you want tobe sure
to first reset all font related properties before starting applying 
your own preferences, the markup command \normal-text was introduced

in version 2.7. So you should be able to do something like
n = #(make-dynamic-script (markup #:normal-text #:italic "n." ) )

  /Mats



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Re: al niente / de niente - was Re: (no subject)

[Marcus Macauley]

Mats Bengtsson wrote:


Quoting Marcus Macauley <[EMAIL PROTECTED]>:

As an alternative to the second method -- and a perhaps more  
conventional  one, recommended by Kurt Stone -- niente can be notated  
not with the  dynamic letter "n" but with the italic "n." (this time  
with a period).  This should be possible to do now, but I can't figure  
out how to switch  off the boldface:


n = #(make-dynamic-script (markup #:text #:italic "n." ) ) % This  
makes  the text bold-italic.


n = #(make-dynamic-script (markup #:text "n." ) ) % In fact, even this   
makes it bold-italic, as if that's the default text font style. Why?  
And  how to switch it off?


The simple reason is that dynamics by default have bold face turned on.  
For situations like these, where you want tobe sure
to first reset all font related properties before starting applying your  
own preferences, the markup command \normal-text was introduced

in version 2.7. So you should be able to do something like
n = #(make-dynamic-script (markup #:normal-text #:italic "n." ) )


Ah, yes, that works. The last thing I saw on in the email list archives  
about it was a comment, by you, I think, that a command like \normal-text  
would be useful (it presumably hadn't been implemented at the time).


Another way to do it, I've found, is...

n = #(make-dynamic-script (markup #:text #:medium #:italic "n.") )

...where #:medium is the regular (not-bold) weight of the font. (Likewise,  
as Han-Wen pointed out on lilypond-devel, you can use #:upright to cancel  
#:italic). I like your solution better, though - it could conceivably be  
used where you're unsure of what the default font style is, and you just  
want to clear all formatting and then specify only what you want.


Thanks for the tip.

Marcus


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Re: (no subject)

[Han-Wen Nienhuys]

Arno Waschk wrote:

dear list,

for a contemporary music score i need hairpin having a circles around  
their tip, indicating cresc./descresc. from/into silence.


what is the easiest way to enter these into the score? or does this 
need  to be implemented yet? i did not find that mentioned in the docs.


thanks, arno


it's not support right now, but I can add it as a sponsored feature.

--

Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen

LilyPond Software Design
 -- Code for Music Notation
http://www.lilypond-design.com



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Re: al niente / de niente - was Re: (no subject)

[Trevor Bača]

On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
> On Thu, 16 Mar 2006 14:27:24 -0800, Trevor Bača"" <[EMAIL PROTECTED]>
> wrote:
>
> > On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
>
> >> Another way of notating this, which I prefer, but also I think needs to
> >> be
> >> implemented, is to follow the decresc. (or precede the cresc.) with a
> >> bold/italic "n" or "n.", for niente.
> >
> > Does #(make-dynamic-script "n.") not help? (As in the examples in 8.1.8?)
>
> At least for me (Lilypond 2.7.38 on Windows, not cygwin), doing that
> prints the "n." in a giant sans-serif font -- very inappropriate. I assume
> it does that because the dynamic-script font lacks an "n" character, so it
> substitutes the letter from another font.

Yes, you're right, as this bit shows:

% BEGIN DYANMIC LETTERS %

\version "2.7.38"

alpha = #(make-dynamic-script "abcdefghijklmnopqrstuvwxyz")

\new Staff {
   c'4 c'4\alpha
}

%%% END %%

How odd. Well I guess conventional dyanmics employ only [f, m, p, r,
s, z]. Would be nice to be able to point make-dynamic-script at
arbitrary characters (lower- and uppercase) and I wouldn't mind
cosponsoring that feature either in the upcoming 2.9 cycle. Actually,
seems like there's a bit of dynamics work that's already listed on the
sponsorship page, so we might be able to put together a package of
dynamics-related work all at one time and then solicit help to divide
up the development costs. Hmm.




--
Trevor Bača
[EMAIL PROTECTED]
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Re: al niente / de niente - was Re: (no subject)

[Marcus Macauley]

On Thu, 16 Mar 2006 14:27:24 -0800, Trevor Bača"" <[EMAIL PROTECTED]>  
wrote:



On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:


Another way of notating this, which I prefer, but also I think needs to  
be

implemented, is to follow the decresc. (or precede the cresc.) with a
bold/italic "n" or "n.", for niente.


Does #(make-dynamic-script "n.") not help? (As in the examples in 8.1.8?)


At least for me (Lilypond 2.7.38 on Windows, not cygwin), doing that  
prints the "n." in a giant sans-serif font -- very inappropriate. I assume  
it does that because the dynamic-script font lacks an "n" character, so it  
substitutes the letter from another font.


Marcus


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