Re: Altering beamed stem lengths
On 2021-12-11 8:29 pm, Ahanu Banerjee wrote:
Hello,
I am working with 2 simultaneous voices, and I want to increase the
distance between the beamed stems of one voice and the noteheads of the
other voice. Is there some way to set a minimum distance between the
beams
and noteheads, i.e., "padding"? I don't want to manually override
Stem.details.beamed-lengths or Beam.positions each time.
Here is an example:
\version "2.20.0"
%normal output%
<< { g'8 [ s e' s f' s d' ] } \\ { \repeat unfold 4 { s b'8 } } >>
%desired output%
<< { \override Beam.positions = #'(2.2 . 1.8)
g'8 [ s e' s f' s d' ] } \\ { \repeat unfold 4 { s b'8 } } >>
This seems to get pretty close to what you want:
<< { g'8 -\tweak details.collision-padding 1 [ s e' s f' s d' ] } \\ {
\repeat unfold 4 { s b'8 } } >>
-- Aaron Hill
Re: Scheme doesn't check for missspeeled variable names???
On 2021-07-20 8:11 pm, James B. Wilkinson wrote:
I fat-fingered the keyboard on my laptop and got this:
flute-notes = {
\override BreathingSigh.Y-offset = #2.6 %% also
tried #5.0 and some really big numbers; no effect
7 bars of music in 4/4
}
AND I never got an error message.
What version are you running? You should have gotten this output:
GNU LilyPond 2.22.0
Processing `grob-paths.ly'
Parsing...
grob-paths.ly:4:13: error: bad grob property path
\override
BreathingSigh.Y-offset = #2.6
Interpreting music...
-- Aaron Hill
Re: Forcing display of a time signature
On 2021-07-21 2:56 am, N. Andrew Walsh wrote:
[ . . . ] Is there a way to force (re-)displaying a time
signature in one Staff, without invoking the \time command and
displaying
it for all voices?
One option would be to use \time again, but then manually omit the
signature where you do not want it to appear:
\version "2.22.0"
noTime = \omit Staff.TimeSignature
<< \new Staff { \once \noTime \time 3/4 b'4 4 4 }
\new Staff { b'8 8 2 }
\new Staff { \once \noTime b'4. 8 r4 } >>
-- Aaron Hill
Re: Scheme doesn't check for missspeeled variable names???
(Do try to keep the mailing list on all replies, so that threads do not
get disrupted and to ensure broad visibility and participation.)
On 2021-07-21 9:11 am, James B. Wilkinson wrote:
On Jul 20, 2021, at 11:16 PM, Aaron Hill
wrote:
On 2021-07-20 8:11 pm, James B. Wilkinson wrote:
I fat-fingered the keyboard on my laptop and got this:
flute-notes = {
\override BreathingSigh.Y-offset = #2.6 %% also
tried #5.0 and some really big numbers; no effect
7 bars of music in 4/4
}
AND I never got an error message.
What version are you running? You should have gotten this output:
Sure enough. I got the latest version, and that’s what happens now.
I had this: 2.22.0-1 on OS X 10.14.6
My use of Lillypond is sporadic. I prolly should start every project
with a fresh download.
thanks for the quick reply.
Well, to be fair, I would expect all versions of LilyPond to have
produced that error. As such, the issue was likely more about your
environment and workflow, checking to see if some other process was
hiding the error message.
-- Aaron Hill
Re: Distance between staffs
On 2021-07-22 7:12 am, Silvain Dupertuis wrote:
Hello,
I found a nice way to do it, using Lilypond 20, by specifying
staff-staff-spacing.padding with a negative value
\new PianoStaff \with {
% midiInstrument = "tenor sax"
\override StaffGrouper.staff-staff-spacing = #'(
(basic-distance . 0)
(padding . 0)) % s0 for first exemple ;
second example : (padding . -3.09)
}
The result was this
with padding=0
with the negative adjustment (padding = -3.06)
Unfortunately, this adjustment no longer works in LilyPond 22
It looks like the property was broken, or no longer function this way?
Whatever the value, the distance is not affected.
Negative padding still works, but you failed to set minimum-distance.
Seems there was a change of behavior around the assumed defaults.
That said, you should be relying solely on
basic-distance/minimum-distance to separate the staves properly. You
then just need a suitably large negative padding to handle the
overlapping ink. Negative infinity should be large enough for most
situations:
\version "2.22.0"
\new PianoStaff
\with {
\override StaffGrouper.staff-staff-spacing =
#'((basic-distance . 6) (minimum-distance . 6)
(padding . -inf.0) (stretchability . 0))
}
<< \new Staff { g,4 g g' g'' | s1 }
\new Staff { \clef "bass" s1 | g,4 g g' g'' } >>
-- Aaron Hill
Re: Extra padding between ChordNames and custom headers
On 2021-07-17 2:24 am, Robin Bannister wrote:
Robin Bannister wrote:
And the put-mm [1] version of this would be
Forget that!
Sorry for the noise. Missing Nabble's Classic overview.
On the contrary, it led me to this variation:
\version "2.22.0"
song =
<< \new ChordNames \chordmode { c2 d:7 | g1 }
\new Voice \fixed c' { g2 a4 fis | g1 } >>
#(define-markup-command
(header-pad-below layout props arg)
(markup?)
(let ((padding (chain-assoc-get 'header:pad-below props 0)))
(interpret-markup layout props
(markup #:put-adjacent Y DOWN arg
#:with-dimensions '(0 . 0) `(0 . ,padding) #:null
\paper {
indent = 0 line-width = 2\in ragged-right = ##f
scoreTitleMarkup = \markup \header-pad-below \scoreTitleMarkup
}
\score { \header { piece = "Duis blandit lorem" } \song }
\score { \header { piece = "Curabitur condimentum" pad-below = 2 } \song
}
\score { \header { opus = "Integer sit amet" pad-below = 1 } \song }
\score { \header { pad-below = 3 } \song }
-- Aaron Hill
Re: Extra padding between ChordNames and custom headers
On 2021-07-16 10:49 pm, Brent Annable wrote:
Any other thoughts?
Does this approach help?
\version "2.22.0"
song =
<< \new ChordNames \chordmode { c2 d:7 | g1 }
\new Voice \fixed c' { g2 a4 fis | g1 } >>
\paper {
indent = 0 line-width = 2\in ragged-right = ##f
originalScoreTitleMarkup = \scoreTitleMarkup
scoreTitleMarkup = \markup \left-column {
\originalScoreTitleMarkup \fromproperty #'header:extra }
}
\score { \header { piece = "Duis blandit lorem" } \song }
\score { \header { piece = "Curabitur condimentum"
extra = \markup \vspace #0.5 } \song }
\score { \header { piece = "Integer sit amet" } \song }
The strategy is to define a new header variable that gets vertically
appended to the normal score markup. Normally, this variable would be
undefined and result in an empty stencil that causes no additional
spacing. But supplying a suitable value for the property would let you
apply spacing to a particular score.
-- Aaron Hill
Fix submitted for Frescobaldi #1379
I just submitted a PR [1] that should address the errors around Unicode command-line files paths on Windows. It needs validation to ensure no new issues have been introduced. On my Windows 10 (20H2) system, I was able to open files with non-ASCII characters properly. [1]: https://github.com/frescobaldi/frescobaldi/pull/1382 -- Aaron Hill
Re: Feedback wanted: syntax highlighting in the LilyPond documentation
On 2022-01-04 4:19 am, J Martin Rushton wrote: Sorry to disagree, but fixed pitch is _so_ much easier to lay out in an editor. Documentation flows nicely with variable pitch and fancy hidden formats, but for code (and Lily's input is a programming language) you just want the plain line-by-line ASCII. It is, as you say, industry standard; and that is for a good reason. As a counterpoint, Knuth's work with literate programming [1] showed it was possible to have typographically beautiful setting of code for use in print. His style largely used proportional fonts though some elements were still rendered in fixed width to provide useful contrast. While Knuth's approach is not perfect for every language, I argue the vast majority of programming books out there really should have followed suit. Editors (the people, not programs) seem to struggle with fixed-width typefaces, and typos were abundant. Going beyond printed documentation, some IDEs like Source Insight enabled and encouraged programmers to use proportional fonts, where horizontal alignment was something handled by the system not the programmer. Though I do concede this was probably a novelty, seeing as these days terminals and editors still rely on fixed pitch. [1]: http://www.literateprogramming.com/knuthweb.pdf -- Aaron Hill
Re: Beam slopes
On 2022-01-09 12:30 pm, Виноградов Юрий wrote: Hello. How to make a connecting beam at an angle of 90 degrees in this code Please review this thread [1] from last year, as I think you are looking for the same behavior. [1]: https://lists.gnu.org/archive/html/lilypond-user/2021-05/msg00078.html -- Aaron Hill
Re: alternate notes within a part
On 2022-01-09 2:50 pm, Valentin Petzel wrote: It depends a bit on how structured your music is. If you’ve got two Voices it is reasonable to give both their own relative clause. If you music does not have a lot of complex structure a top level relative is very much find. Problematic are cases where notes within the music might change, thus affecting stuff after it. This might be the case with tags, but also with cues or scores in footnotes (where also someone might think about adding something, and suddenly the main music body has problems. Having been bitten more times than worth counting, I have almost exclusively moved to using \fixed. The level of consistent and precise control means I can add, change, or remove notes as well as freely copy and paste music around without fear of notes being thrown off into the wrong octave. That said, I think \relative is still useful as a tool for reasonably-scoped melodic phrases where there is much less chance for things to go awry. So, if a song had, say, three main sections, I would probably use one \relative per, decoupling the sections from each other. (Also, there is a good chance each section ends up as its own variable anyway.) Going more granular might make sense if a section was particularly long. At that point, the early and later notes just stop having any practical relationship with one another, so they might be better placed in their own blocks. -- Aaron Hill
Re: alternate notes within a part
On 2022-01-09 2:05 pm, David Zelinsky wrote:
Is there a better way to accomplish what I'm trying to do? Or do I
really just need to maintain completely separate versions for the two
instruments?
You can certainly use the tag approach, just keep a few things in mind.
Firstly, you should use simultaneous music in places where the tagged
parts are in parallel. This should avoid the issues with bar check
failures as the music remains valid time-wise without needing to remove
tags.
Secondly, \relative should be used in a more restrictive scope, not as a
top-level tool where changes to pitches often have unexpected side
effects, or you run into issues with tagged material. \fixed is
certainly an option to consider, although for many melodic phrases
\relative is really quite handy.
Consider this below:
foo = {
\relative b' { | b4 a8 g fis2 }
<< \tag one \relative g' { | g8 a b d e2 }
\tag two \relative e' { | e4 d cis2 } >>
\relative g' { | g1 \bar "|." }
}
<< \new Staff \with { instrumentName = "both" } \foo
\new Staff \with { instrumentName = "one" } \keepWithTag one \foo
\new Staff \with { instrumentName = "two" } \keepWithTag two \foo >>
-- Aaron Hill
Re: Hebrew and Latin fonts
On 2022-01-07 6:13 am, Hilber, Simon wrote:
in 2019 I produced a little booklet with Hebrew and German songs - in
version 2.18.2. The German text was rendered in a font with serifs, the
Hebrew text was in a font without serifs. Now (with a new pc and
version
2.20) with the input, text in both languages is produced in a serif
font. I
would prefer the previous fonts. How is it possible to globally define
the
fonts for Latin and Hebrew fonts respectively? I know how to change it
for
a particular text with \override - but I need a solution for the whole
document since it is a lot of text.
At some point, LilyPond changed the default fonts to the TeX Gyre family
(Schola, Heros, and Cursor).
You just need to switch the global font back to whatever you liked
before, for instance:
\paper {
#(define fonts
(set-global-fonts
#:roman "New Century Schoolbook"
#:factor (/ staff-height pt 20)))
}
-- Aaron Hill
Re: Ornament question
On 2022-01-14 12:13 am, Jacques Menu wrote: What is the name of the ‘up arc’ ornament on the first note in this score? Then I’ll look it up in the LPNR. I think "scoop" might be the term. Did we ever get a \bendBefore as the logical companion to \bendAfter? -- Aaron Hill
Re: fonts on windows
On 2022-01-15 5:43 pm, Michael Rivers wrote: That sounds exactly like the case. Would anyone happen to know how to install the fonts system-wide? It is an option when you right-click to install a font. Look for "Install for all users" which should have the elevation shield next to it. -- Aaron Hill
Re: fonts on windows
On 2022-01-15 5:52 pm, Michael Rivers wrote: Yes, I managed to figure that out. It would be nice if Lilypond could find fonts for the current user too. Definitely. Looks to be an issue with fontconfig [1] and not LilyPond. [1]: https://gitlab.freedesktop.org/fontconfig/fontconfig/-/issues/144 -- Aaron Hill
Re: fonts on windows
On 2022-01-15 5:14 pm, Michael Rivers wrote: I'm pretty sure text fonts on Windows are kaput. Some work, some don't. The fonts I'd like to use show up as installed properly in Settings and work in all other apps I've tried, but not Lilypond. I'm on Windows 11, but I've also tried on Windows 10. Are your fonts installed for all users or just your own account? Back in the day, fonts were always stored system-wide in %WinDir%\Fonts. At some point, Microsoft introduced an option for user-specific fonts which are located in %LocalAppData%\Local\Microsoft\Windows\Fonts. Depending on how LilyPond enumerates fonts, it might only be picking up the system-wide ones. -- Aaron Hill
Re: fonts on windows
On 2022-01-15 5:40 pm, Aaron Hill wrote: which are located in %LocalAppData%\Local\Microsoft\Windows\Fonts. No, stupid webmail client. That is not the path I pasted into the message. Where did that extra \Local even come from?! (Roundcube is getting really buggy lately.) %LocalAppData%\Microsoft\Windows\Fonts is the correct path. -- Aaron Hill
Re: How to input a diminished7 (maj7) chord?
On 2022-01-11 12:21 pm, Flaming Hakama by Elaine wrote:
% I am not sure why this one does not work
-\markup { \super "o7(△7)" }
Wrong octave for the C flat. Use .
-- Aaron Hill
Re: More about stencil
On 2022-02-13 11:43 am, Rip _Mus wrote:
Hello everyone,
thanks to your many suggestions, I was able to get a little into the
perspective of modifying the stencils.
I created a stencil modification that adds a small arrow (sort of a
glissando) to the left of the note or accident.
However, I cannot understand why the ascending arrows let the stem no
longer attached to the notehead. Do you have any ideas?
Modifying the NoteHead stencil as you are doing changes its extents,
thus affects the attachment point. One option is to add the arrow to
the final stencil but preserve the original extents:
(ly:stencil-outline
(ly:stencil-combine-at-edge arr X RIGHT note 0)
note)
(The above approach might result in collisions.)
Another option would be to utilize Fingering as a host grob, as that
already handles alignment with notes whether or not accidentals are
present:
(Below also I show an alternate method for defining the arrows, so that
a shared symbol is simply rotated. Custom extents are specified so that
the arrows align as desired.)
double-right-arrow =
#(ly:stencil-add
(make-line-stencil 0.1 -0.9 0.1 -0.1 0.1)
(make-line-stencil 0.1 -0.9 -0.1 -0.1 -0.1)
(make-line-stencil 0.15 -0.3 0.3 0 0)
(make-line-stencil 0.15 -0.3 -0.3 0 0))
glis-su-arrow =
#(ly:make-stencil
(ly:stencil-expr
(ly:stencil-rotate double-right-arrow 45 RIGHT CENTER))
'(-0.7 . -0.2) '(-0.3 . 0.7))
glis-giu-arrow =
#(ly:make-stencil
(ly:stencil-expr
(ly:stencil-rotate double-right-arrow -45 RIGHT CENTER))
'(-0.7 . -0.2) '(-0.7 . 0.3))
glis-giu =
#(define-music-function
(note) (ly:music?)
(ly:music-set-property! note 'articulations
(cons
(make-music 'FingeringEvent 'digit 1
'tweaks (list (cons (quote stencil) glis-giu-arrow)))
(ly:music-property note 'articulations '(
#{ \once \set fingeringOrientations = #'(left)
#(make-event-chord (list note)) #})
glis-su =
#(define-music-function
(note) (ly:music?)
(ly:music-set-property! note 'articulations
(cons
(make-music 'FingeringEvent 'digit 1
'tweaks (list (cons (quote stencil) glis-su-arrow)))
(ly:music-property note 'articulations '(
#{ \once \set fingeringOrientations = #'(left)
#(make-event-chord (list note)) #})
\new Staff {
\relative c' {
\once \override Score.FootnoteItem.annotation-line = ##f
\footnote "*" #'(-0.2 . -1) "* glissando at the end of previous
note" NoteHead
\stemDown \glis-giu f2 \glis-su b |
\glis-giu fis4 \glis-su bes2.
\glis-giu c32 \glis-su c c c c c c c
\glis-giu c \stemUp \glis-giu c
}
}
Since Fingerings must be inside a chord (i.e. <>) construct in order to
respect fingeringOrientations, the music functions above have to do some
manipulation of the argument. Depending on how you intend on using
these arrows in context, it might be worth the time to invent a custom
grob instead rather than cannibalize something built-in.
-- Aaron Hill
Re: DynamicTextSpanner spacing
On 2022-03-05 3:49 pm, Erika Pirnes wrote:
I would like the dotted line of the crescendo to start a bit later and
end a bit earlier. It is too close to "cresc.", in my opinion at
least. And sometimes too close to the "f" as well. (A tiny detail, for
sure, but it looks annoying.) Any ideas?
[...]
music = \relative c' {
\repeat unfold 5{c8 \p \cresc d e f g a b4 c8 \f b c2.}
}
You will need to play around with the bound-details for the
DynamicTextSpanner:
\version "2.18.2"
\relative c' {
%% The space before the left side of the spanner.
%% (NOTE: This includes the attached stencil.)
%% Default is 0.75; we are adding two units of space.
\override DynamicTextSpanner.bound-details.left.padding = #2.75
%% Since we want the space between the stencil and
%% line, we need to shift the stencil over a bit.
%% Default is (-0.75 . -0.5); we move it left by the
%% same increment we applied to the padding above.
\override DynamicTextSpanner.bound-details
.left.stencil-offset = #'(-2.75 . -0.5)
%% The space after the right side of the spanner.
%% Default is 0.75; we are adding two units of space.
\override DynamicTextSpanner.bound-details.right.padding = #2.75
%% (For debugging only...)
%% Highlight the grob in red for better visibility.
%% Also make the line solid to show its extents clearly.
\override DynamicTextSpanner.color = #red
\override DynamicTextSpanner.dash-fraction = #1
\repeat unfold 5{ c8 \p \cresc d e f g a b4 c8 \f b c2. }
}
-- Aaron Hill
Re: VS: DynamicTextSpanner spacing
On 2022-03-05 5:26 pm, Erika Pirnes wrote: Thank you Aaron, it seems to work! But what does stencil mean exactly? Sorry for the delay. Within the bound-details, the stencil refers to the associated text or graphic that is attached to the left (or right) end of the spanner line. In this case, it would be the text "cresc.". -- Aaron Hill
Re: Should \partial accept music instead of duration?
On 2022-03-19 7:53 pm, Dan Eble wrote:
On Mar 19, 2022, at 20:53, Aaron Hill wrote:
...
A convert-ly rule would probably not be possible given the limited
power
of regular expressions. As such, \partial might need to support
both
duration and music arguments. Initially I thought this might not be
possible, given that a naked duration can be treated as music; but
the
following does seem to work:
...
I wouldn't want to have to explain to users why these turn out
different.
\score {
\fixed c' {
\partial 4. 4.
}
}
\score {
\fixed c' {
\partial c4. c4.
}
}
Fair point, though the intention here would be that backwards
compatibility would only need to exist for a time. A warning could be
issued whenever a user applies the older syntax; this would inform the
user of the impending breaking change while still allowing existing code
to compile. When it is convenient, a future release would only support
music as the argument.
-- Aaron Hill
Should \partial accept music instead of duration?
Here would be a possible refactoring:
\version "2.22.0"
partial =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial measure.")
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
'elements
(list (context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration dur)
'Timing)
mus
\fixed c' {
\time 3/4
\partial { g8 a4 }
| g2. \bar "||"
\partial { \grace { g16 } a8 b }
| a2. \bar "||"
\partial \tuplet 3/2 { g8 fis }
| g2. \bar "|."
}
A convert-ly rule would probably not be possible given the limited power
of regular expressions. As such, \partial might need to support both
duration and music arguments. Initially I thought this might not be
possible, given that a naked duration can be treated as music; but the
following does seem to work:
\version "2.22.0"
#(define (duration-or-music? arg)
(or (ly:duration? arg) (ly:music? arg)))
partial =
#(define-music-function (arg) (duration-or-music?)
(_i "Make a partial measure.")
(if (ly:duration? arg)
(context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration arg)
'Timing)
(let* ((mom (ly:music-length arg))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
'elements
(list (context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration dur)
'Timing)
arg)
\fixed c' {
\time 3/4
\partial 4. g8 a4 %% Original syntax works.
| g2. \bar "||"
\partial { \grace { g16 } a8 b }
| a2. \bar "||"
\partial \tuplet 3/2 { g8 fis }
| g2. \bar "|."
}
-- Aaron Hill
Re: Should \partial accept music instead of duration?
On 2022-03-19 5:46 pm, Thomas Morley wrote:
Am So., 20. März 2022 um 00:02 Uhr schrieb Aaron Hill
:
Here would be a possible refactoring:
\version "2.22.0"
partial =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial measure.")
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
'elements
(list (context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration dur)
'Timing)
mus
\fixed c' {
\time 3/4
\partial { g8 a4 }
| g2. \bar "||"
\partial { \grace { g16 } a8 b }
| a2. \bar "||"
\partial \tuplet 3/2 { g8 fis }
| g2. \bar "|."
}
A convert-ly rule would probably not be possible given the limited
power
of regular expressions. As such, \partial might need to support both
duration and music arguments. Initially I thought this might not be
possible, given that a naked duration can be treated as music; but the
following does seem to work:
\version "2.22.0"
#(define (duration-or-music? arg)
(or (ly:duration? arg) (ly:music? arg)))
partial =
#(define-music-function (arg) (duration-or-music?)
(_i "Make a partial measure.")
(if (ly:duration? arg)
(context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration arg)
'Timing)
(let* ((mom (ly:music-length arg))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
'elements
(list (context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration dur)
'Timing)
arg)
\fixed c' {
\time 3/4
\partial 4. g8 a4 %% Original syntax works.
| g2. \bar "||"
\partial { \grace { g16 } a8 b }
| a2. \bar "||"
\partial \tuplet 3/2 { g8 fis }
| g2. \bar "|."
}
-- Aaron Hill
Hi Aaron,
I really like it! Always wondered why we need to specify a duration,
if it can be taken from the music.
I'd suggest to propose it on devel. Preferable the second coding,
because we could nicely deprecate the old syntax for some versions.
*facepalm* I thought I was sending to devel. Well, folks on user might
want to chime in too.
-- Aaron Hill
Re: partCombine misinterprets Solo
On 2022-03-23 1:52 am, David Santamauro wrote: mm 1- 3 and 3-6 are note-identical. The only difference is the decrescendo in m. 1, terminated in m. 2. I believe the terminating decrescendo in vTwo/m. 2 causes the partCombine code to think there's music in vTwo/m. 2 -- I could be wrong, but the result is wrong nevertheless. The part combiner sometimes needs hints. Consider adding... \once \partCombineSoloI ...at the beginning of the second measure. -- Aaron Hill
Re: Ignore stems
On 2022-03-25 5:11 am, Simon Albrecht wrote: Hello everybody, I want to try having Lyrics placed without regard for any stems in the adjacent staff (and then using whiteout to remedy the clash, of course). The below approach doesn’t work. Why? Can I make it work? You'll typically need to use negative padding to get overlapping ink. \override VerticalAxisGroup.nonstaff-relatedstaff-spacing = #'((minimum-distance . 4.5) (padding . -2)) -- Aaron Hill
Re: Should \partial accept music instead of duration?
On 2022-03-20 3:17 am, David Kastrup wrote: Aaron Hill writes: Fair point, though the intention here would be that backwards compatibility would only need to exist for a time. I strongly disagree since \partial with a duration is the natural and proper expression when writing a separate timing track. Natural, I can see. Proper... I would need more information backing that claim. Certainly if there is a technical basis, I would be eager to review it. If sound, then I could retract my proposal and answer the email subject with "no". In my timing/global/structure variables, expressions like \partial 4 s4 are common. Certainly \partial 4 would be most succinct, but it creates no actual duration in sequential music. Naturally, the spacer rest is used so later commands occur when I need them. My proposal leads to \partial s4 as a reasonable construct that avoids redundancy. (See below regarding NullVoice.) A warning could be issued whenever a user applies the older syntax; this would inform the user of the impending breaking change while still allowing existing code to compile. When it is convenient, a future release would only support music as the argument. 4. _is_ valid music. Yes, and it works with the updated \partial function. The only side effect is that it might produce a visible note (of unspecified pitch), because that is what 4. as music means. If used in a NullVoice context, it should work the same as s4. which means we are back to the original syntax. The key difference is that \partial 4. would now have musical length. -- Aaron Hill
Re: Should \partial accept music instead of duration?
On 2022-03-20 1:13 am, Leo Correia de Verdier wrote: Entirely replacing the actual syntax would not be desirable in my opinion. Consider the case when it is used in a “global” part/variable in an orchestral score that usually contains rehearsal marks, tempo, key and time signature changes and such. As I understand it having \partial to accept only music as argument would have to move to each part, which would introduce unnecessary typing and disrupt the logic of the structure. Sure it can be worked around, but I would see it as a step backwards. Or have I misunderstood? All of those things *are* music, as far as LilyPond is concerned. It is just that commands like \tempo have no duration, so the following is nonsensical since the music has zero length: \partial \tempo 4 = 90 Your "global" variable likely uses spacer rests which are providing the length information, so the change to \partial usage ultimately looks like this: \partial 4 s4 => \partial s4 This removes the otherwise redundant specification of the duration. -- Aaron Hill
Re: Delay for list posts to arrive
On 2022-02-01 2:50 pm, Jean Abou Samra wrote: Lately I've found myself a couple times duplicating answers already provided on this list by others up to almost three hours earlier because I had not received these replies yet. Now the little delay for posts to get in inboxes is a quirk inherent to mailing lists, but three hours seems a bit much. I'm wondering: are others experiencing this as well? Yes. Though it is inconsistent. Check the timestamps in the email headers. This tends to be what I see: - Original sender's mail goes from their server to the eggs.gnu.org (the spam filter, IIUC). - eggs.gnu.org processes the mail and hands it off to lists.gnu.org. - The email goes from "localhost" (?) to lists.gnu.org. [This is where the delay usually happens.] - My mail server gets the email from lists.gnu.org. -- Aaron Hill
Re: Right justifying text between systems
On 2022-02-07 11:04 pm, Alasdair McAndrew wrote:
\markup {\hspace #70 \fontsize #2 {\italic {Au Rondeau puis au
premier}}}
For right-alignment, you should use \fill-line:
\markup \fill-line { \null \italic "Lorem ipsum..." }
I could do this by adding the text as a markup to one of the notes in
the bottom staff of Rondeau II, but then it's too close to the score
block.
You could use a RehearsalMark at the very end with appropriate padding:
\paper { #(set-paper-size "a5") }
Rondeau.I = { R1*13 \bar "||" }
Rondeau.II = { R1*13 \bar "||" }
Bourree.I = { R1*13 \bar "|." }
\score { \header { piece = "Rondeau I" } { \Rondeau.I } }
\score { \header { piece = "Rondeau II" }
{ \Rondeau.II
\tweak break-visibility #end-of-line-visible
\tweak direction #DOWN
\tweak font-size #0
\tweak padding #2
\tweak self-alignment-X #RIGHT
\mark \markup \italic "Repeat Rondeau I" }
}
\score { \header { piece = "Bourree I" } { \Bourree.I } }
-- Aaron Hill
Re: Moving a tie horizontally
On 2022-02-07 3:28 pm, Jean Abou Samra wrote:
For now, you have to use the \shape command documented at
The shape seems fine, just needs to be offset to optically align with
the slashed note heads:
music = { \time 3/4 2~4~8~8~2~16~8~16~4.~8 }
<<
\new RhythmicStaff { \music }
\new RhythmicStaff \with {
\improvisationOn
\override Tie.extra-offset = #'(-0.4 . -0.6)
} { \music } >>
NOTE to OP: For a single-line rhythm, consider using RhythmicStaff.
-- Aaron Hill
Bar numbers on lines beginning with a partial measure
I have for quite some time just relied on the default behavior where bar
numbers are printed only for the first measure in each line (save the
very first measure). This works reasonably well as my musicians are
able to locate measures by number fairly quickly. However, there is an
issue when I opt to split measures over a line break. (This practice is
quite common in hymnals, though I find it equally effective for modern
music to avoid having pickup/trailing notes/lyrics straddling a line
break.) When the first measure on a line is a partial measure, no bar
number is shown. This means some lines in my lead sheets have no bar
number for reference. In some cases, I end up with no automatic bar
numbers at all.
(Some code for context/reference...)
midMeasureBreak = { \bar "" \break }
forceBarNumber =
\once \override Score.BarNumber
.break-visibility = #all-visible
{ R1*4 \break
R1*4 r2 r4 \midMeasureBreak r4
R1*4 r2 r4 \midMeasureBreak r4
\forceBarNumber
R1*4 \bar "|." }
As can be see above, I can manually override the bar number visibility,
but it is not very elegant. If I opt to reflow music, I would have to
revisit the bar numbers to make sure only the ones I want are there. It
would be very nice if LilyPond could treat the first full measure as the
effective first measure on the line w.r.t. break visibility settings.
Has anyone else encountered this and come up with a solution? If not, I
will dig around the existing engraver logic and see about submitting a
patch should folks find the updated behavior desirable.
-- Aaron Hill
Re: associate text with chords
On 2022-02-06 5:08 am, achar wrote: P.S.: I already received answers but, they evaporated before I could read them You can review the archives [1] if you lose track of a message. Although, since your original thread is barely two days old, you should strongly reconsider your service provider if they are purging emails that quickly. [1]: https://lists.gnu.org/archive/html/lilypond-user/2022-02/msg00062.html -- Aaron Hill
Re: Bar numbers on lines beginning with a partial measure
On 2022-02-06 1:37 am, Jean Abou Samra wrote: Are you aware of the options to print a parenthesized bar number at the start of the line if it's the continuation of a measure? See input/regression/bar-number-visibility-* (sadly missing documentation at the moment). I don't have an opinion on whether that is better practice or not than what you suggest. It is, at any rate, what Gould recommends (Behind Bars p. 490). Thanks, Jean. first-bar-number-invisible-save-broken-bars is one of the undocumented options that seems almost perfect. At first glance, though, the parenthesized numbers stand out too much. Thankfully, the parenthesization logic is within robust-bar-number-function, which is easily adaptable as Scheme code. Some quick testing with the \parenthesize markup command looks better than relying on the glyphs of the number font which are a little too wide. ;; ...preamble from robust-bar-number-function... (let* ((number-and-power (get-number-and-power 0 0)) (begin-measure (= 0 (ly:moment-main-numerator measure-pos))) (text (string-append (number->string barnum) (make-letter "" (car number-and-power) (cdr number-and-power) (if begin-measure text (markup #:override '(line-thickness . 0.05) #:override '(padding . 0.05) #:override '(width . 0.2) #:parenthesize #:smaller text I will have to try this for awhile to see if I like it better than labelling the first full measure. It is interesting that all bar numbers would be consistently aligned on the left margin, so that might prove useful. -- Aaron Hill
Re: Add text to score without affecting spacing
On 2022-02-09 4:12 pm, Valentin Petzel wrote:
Hi Kieren,
thank you. Yes, currently I am using some tweaked Rehearsal Marks mit
0-
dimensions and some tweaks. Just asking if there was a better way.
There are a number of grobs that normally have no visual representation.
You could attach your content there:
\version "2.22.0"
overlayText =
#(define-music-function
(grob-path text)
(key-list? markup?)
(define (print-with-point-outline grob)
(ly:stencil-outline
(ly:text-interface::print grob)
point-stencil))
(define (proc grob . args)
(ly:grob-set-property! grob 'font-size -6)
(ly:grob-set-property! grob 'layer 1000)
(ly:grob-set-property! grob 'stencil
print-with-point-outline)
(ly:grob-set-property! grob 'text text))
#{ \applyOutput $grob-path #proc #})
{
b'4
\overlayText Score.PaperColumn
\markup \general-align #Y #UP "Lorem"
4
\overlayText Score.NoteColumn
\markup \vcenter \whiteout \box "Ipsum"
2
}
-- Aaron Hill
Re: associate text to chord
On 2022-02-05 2:49 am, Kevin Barry wrote: Hi Achar, Let me specify : in the following example V7 / IV is not associated with the Eb7 chord but with the note G. Is it possible to pair it with the Eb7 chord ? Thanks We don't have a code example, so it's hard to answer your question. At a guess, it looks like you're attaching markup to the notes and you need to attach it to the space between A flat and G. A quick solution could be to add a spacer rest, e.g.: f_"II" aes2*1/2 s4_"V" g If this is something that happens frequently in your score, I would recommend having a separate voice - with only spacer rests - for your Roman numerals. Another option is to use a dedicated context for analysis. The Lyrics context is a good candidate, as it supports arbitrary markup that can be given rhythm independant of the associated Staff. Consider LSR 710 [1] as a starting point. [1]: https://lsr.di.unimi.it/LSR/Item?id=710 -- Aaron Hill
Re: Descenders affecting line height calculation for lyrics in columns?
On 2022-01-19 11:41 pm, Bernhard Fisseni wrote:
[ . . . ] In the
song, there are some lines with descenders (p, g, q going below the
baseline). I show the effect here by inserting "q" in the left
column. Lilypond seems to calculate the "real" line height of the
writing, not some kind of nominal text line height, so that a line
with descenders is higher than a line without. [ . . . ]
Is this the expected behaviour?
No (but kind of yes).
Firstly, \column and \line work properly, respecting baseline-skip and
word-space:
\markup
\override #'(baseline-skip . 4)
\override #'(word-space . 0.5)
\box \line {
\box \line \box {
\column \box { q q q }
\column \box { x x x }
\column \box { b b b }
}
\box \column \box {
\line \box { q x b }
\line \box { q x b }
\line \box { q x b }
}
}
In your code, you have nested \columns within \columns, which does not
work the same as a singular \column would. \column attempts to align
the contains markups by their respective baselines. The baseline of a
\column ends up being the baseline of its first markup. See:
\markup \concat {
\column { q x b }
"q x b"
}
Your inner \columns involve two lines of text which makes them much
taller than the default baseline-skip would permit. \column avoids
overlapping ink, so it moves markups further down based on their actual
extents. Descenders, then, could definitely result in a taller stencil.
There are likely many ways to tackle this. (Other folks on the list
might chime in with their preferred method.) The simplest option I see
is manually adjusting the baseline-skip between the inner and outer
\columns:
\markup {
\fill-line {
\hspace #1
\override #'(baseline-skip . 7)
\column {
\line { \bold "2."
\override #'(baseline-skip . 3)
\column {
"q This is verse two."
"q It has two lines."
}
}
\line { \bold "3."
\override #'(baseline-skip . 3)
\column {
"q This is verse three."
"q It has two lines."
}
}
}
\hspace #1
\override #'(baseline-skip . 7)
\column {
\line { \bold "4."
\override #'(baseline-skip . 3)
\column {
"This is verse four."
"It has two lines."
}
}
\line { \bold "5."
\override #'(baseline-skip . 3)
\column {
"This is verse five."
"It has two lines."
}
}
}
\hspace #1
}
}
The math above is that two lines at baseline-skip of three plus an extra
staff space means an effective baseline-skip of seven.
Secondly, the stanza commands seem to call for defining a two-argument
macro like \columnstanza, but I got lost in the documentation on the
different ways and the different types of objects.
Perhaps something like this:
#(define-markup-command
(my-stanza layout props number lines)
(markup? markup-list?)
(interpret-markup layout props #{
\markup \line {
\bold #number
\override #'(baseline-skip . 3)
\column #lines
}
#}))
\markup {
\fill-line {
\hspace #1
\override #'(baseline-skip . 7)
\column {
\my-stanza "2." {
"q This is verse two."
"q It has two lines."
}
\my-stanza "3." {
"q This is verse three."
"q It has two lines."
}
}
\hspace #1
\override #'(baseline-skip . 7)
\column {
\my-stanza "4." {
"This is verse four."
"It has two lines."
}
\my-stanza "5." {
"This is verse five."
"It has two lines."
}
}
\hspace #1
}
}
-- Aaron Hill
Re: adjusting double glissandi
On 2022-01-25 11:46 am, Rachel Green wrote:
Hi,
I’m trying to adjust the glissandi in this excerpt so that the lines
are parallel and not too close to each other. I found some settings
for adjusting a single glissando, but not for a double glissando. Any
ideas?
There is prior work on this subject. Harm has provided some code [1]
before.
[1]:
https://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00547.html
Here is an adaptation of that logic:
glissandoTweak =
#(define-music-function
(after? tweaks) ((boolean? #t) list?)
(define (proc grob)
(if after? (ly:spanner::kill-zero-spanned-time grob))
(for-each
(lambda (x)
(let ((prop (car x)) (value (cdr x)))
(if (key-list? prop)
(ly:grob-set-nested-property! grob prop value)
(ly:grob-set-property! grob prop value
(ly:assoc-get
(ly:grob-property grob 'glissando-index) tweaks '(
(if after?
#{ \once \override Glissando.after-line-breaking = #proc #}
#{ \once \override Glissando.before-line-breaking = #proc #}))
{
\glissandoTweak
#`((0 . ((color . ,red)
(Y-offset . -0.5)))
(1 . ((color . ,blue)
((bound-details right arrow) . #t
2\glissando
}
-- Aaron Hill
Re: Question on multiple markups
On 2022-04-12 12:25 pm, Evan Driscoll wrote:
http://lilybin.com/vhf35h/5 for example.
I have a note that has two text decorations on it, c^"pizz"_"marc", as
well
as a dynamic \f.
By default everything gets stacked (http://lilybin.com/vhf35h/6), but
that
gets really busy -- there's actually a tempo marking and rehearsal mark
at
that place as well. (I also left off \italic on the marc. but it's in
my
real version.)
I can move the TextScript object*s* with *\once \override
TextScript.extra-offset = #'(2.1 . 1.7)*, but that moves both. I'd like
to
get the 'marc' side by side with the \f obviously without moving the
arco
instruction.
I suspect this has to do with \tweak in there somehow but I can't
figure
out the right incantation.
You need to use the post-event form for \tweak. Consider:
marc = -\markup \italic "marc."
\relative c' {
c4
-\tweak extra-offset #'(2.1 . 1.7) _\marc
^"arco"
\f
c c c
}
\relative c' {
c4
-\tweak X-offset #2 _\marc
^"arco"
\f
c c c
}
NOTE: I think the X-offset tweak looks a little cleaner.
-- Aaron Hill
Re: Temporary div. multiple staffs
(Please keep the mailing list on all replies.) On 2022-04-05 11:06 pm, Evan Driscoll wrote: On Wed, Apr 6, 2022 at 12:37 AM Aaron Hill wrote: Unsure there is a definitively "right" way... but here's an option: http://lilybin.com/1l8whf/12 Move the StaffGroup declaration outside the music. Also, you can name contexts so you can reference an existing one to avoid creating new ones (explicitly or implicitly). Perfect, thanks! As a final tweak, in case anyone finds this thread in the future, here's how to omit the time signature on the new staff: http://lilybin.com/1l8whf/15 Though a question -- I discovered that adding *just* the \new StaffGroup on the "outside" made things work -- on the simplified example, that'd be something like http://lilybin.com/1l8whf/16. In other words, that works even without explicitly naming the existing Staff context and referring to it with \context. Is there any difference between these, aside from possible readability arguments? In many cases, you can rely on the implicit handling of contexts. Your example #16 above relies on the implicit continuation of the current context as only the divisi staff is explicitly created, so things do work as expected. But note that this new staff appears below the original one. If you wanted it to be above, consider: http://lilybin.com/1l8whf/17 (I added color just to make it easier to see which context is which.) -- Aaron Hill
Re: how to repeat a scheme function that creates a Score
On 2022-04-05 10:40 pm, Jeff Olson wrote: Question (b): My secondary question is very simple. How do you set the seed for scheme's "random" function (used in my gen-music.ily). I'd like to get the repeatability of a pseudo-random number generator. (set! *random-state* (seed->random-state 42)) Review the Guile documentation [1]: [1]: https://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/Random.html#Random -- Aaron Hill
Re: Temporary div. multiple staffs
On 2022-04-05 10:20 pm, Evan Driscoll wrote: Another question, one I've struggled with before. The part splits out temporarily into divisi parts on multiple staffs. I always have trouble getting the correct incantations to get the correct result. A naive attempt results in http://lilybin.com/1l8whf/5. This is enough to keep working, but it looks bad -- barlines don't cross between staffs, and there's no grouping a la https://lilypond.org/doc/v2.22/Documentation/69/lily-9c91c2b7.png from the manual. I can get a pair of staffs that are correct on their own by creating a StaffGroup with two new staffs -- http://lilybin.com/1l8whf/9 -- but the original staff continues through. Omitting the explicit \new Staff invocations doesn't help -- http://lilybin.com/1l8whf/11. What's the right way to do this? Unsure there is a definitively "right" way... but here's an option: http://lilybin.com/1l8whf/12 Move the StaffGroup declaration outside the music. Also, you can name contexts so you can reference an existing one to avoid creating new ones (explicitly or implicitly). -- Aaron Hill
Re: how to repeat a scheme function that creates a Score
On 2022-04-05 10:40 pm, Jeff Olson wrote:
Question (a):
My main question is how to write a scheme function that will invoke my
scr function N times, where N could be a number like 1000.
#(for-each add-score (map (lambda (x) #{ \scr #}) (iota 5)))
Replace 5 with whatever.
-- Aaron Hill
Re: Temporary div. multiple staffs
On 2022-04-09 8:45 am, David Zelinsky wrote: A question about Aaron's example: You are referencing an aspect of the original source, not what was being demonstrated in the updated version. What is the purpose of the following line (line 12)? \once \override Staff.TimeSignature #'break-visibility = ##(#f #f #f) The "\omit TimeSignature" on line 7 seems to do the trick, and in fact as far as I can tell the above \override has no effect, even when the \omit TimeSignaure is removed. You are correct that the \omit alone is sufficient. I am unsure why the original had the break-visibility override. That aside, it would probably be best to use \once \omit to limit the scope of the command's effect. -- Aaron Hill
Re: Generate music with scheme
On 2022-04-11 9:10 am, Henrik Frisk wrote:
\version "2.22.2"
{
$(make-sequential-music
(map (lambda (x)
(make-sequential-music
(list
(make-music 'NoteEvent
'pitch
(ly:make-pitch 0 x)
'duration
(ly:make-duration 2))
(make-music 'MarkEvent
'label
(markup
#:line
(#:override (cons (quote font-size) -3)
"10"))
(list 1 2 3 4)))
}
Thanks Jean,
It was the (make-sequential-music) after the lambda expression that I
had
missed, without it it doesn't help to combine the two music events in
one
list.
You could also use append-map which will concatenate the lists without
the inner call to make-sequential-music:
{
$(make-sequential-music
(append-map
(lambda (x) (list
#{ $(ly:make-pitch 0 x) 4 #}
#{ \mark \markup \override #'(font-size . -3) 10 #} ))
(iota 4 1)))
}
In fact, using list-splicing, you can eliminate the outer call to
make-sequential-music as well:
{
$@(append-map
(lambda (x) (list
#{ $(ly:make-pitch 0 x) 4 #}
#{ \mark \markup \override #'(font-size . -3) 10 #} ))
(iota 4 1))
}
Also note the above use of #{ #} to escape music syntax within scheme,
which can often be more abbreviated.
-- Aaron Hill
Re: Setting line-width for individual lines
On 2023-10-16 7:15 pm, Benjamin Bruce wrote: I know how to set line-width in the \layout block to apply it to the whole score. But is it possible to set line-widths on an individual line basis (or for groups of lines), for example one width for lines 1-2, and then a different width for lines 3-4? I know about ragged-right, but I don't like the look of the ragged edge and would rather have the power to specify just how wide I want each line to be. Perhaps something like \pseudoIndents from LSR 1098 [1] would be helpful. [1]: https://lsr.di.unimi.it/LSR/Item?id=1098 -- Aaron Hill
Clipping of ornamentation glyphs (was: what is the musical ornament...)
On 2023-10-27 6:57 am, Mark Stephen Mrotek wrote: \downprall See: https://lilypond.org/doc/v2.22/Documentation/notation/list-of-articulations#ornament-scripts I just noticed something with both that version of the documentation as well as 2.25 [1]. The curl of the "up" or "down" is getting clipped at the top and bottom of the ornamentation snippets. However, "line" seems to be intact. Are the bounds of these curl glyphs not being calculated correctly in the underlying font? Or is something else causing the snippets to clip too tightly? [1]: https://lilypond.org/doc/v2.25/Documentation/notation/ornament-scripts -- Aaron Hill
Re: Pickup measure
On 2023-10-27 6:13 pm, Will Turner wrote: I imported a Musicxml file of a hymn. The first measure is a pickup measure but it imports as a full measure 3/4 with only a quarter note in it. You can see that the measure appears to contain room for 3 beats instead of one. When I play this in Musescore, it plays as a pickup measure, and the measure doesn't have all that space in it. Using \partial 4 on the first measure, I'm trying to make the existing first measure look like a pickup measure and, if possible, actually be a pickup measure. The result I get looks like this. It redistributes the other measures and the end of every line is now a pickup measure. How do I make only the first measure a pickup measure? Without the .ly file itself, it is hard to say. But I suspect the quarter notes from the first measure are being converted to something like 4*3, essentially making a quarter take up the whole time of the measure, which sort of looks like a pickup note. (This would likely be a problem with the source XML or the converter.) When you add the \partial 4, the first quarter duration of the 4*3 is in the anacrusis and then its other two quarters of time push the dotted quarter to beat three, which leads to all the other alignment errors. -- Aaron Hill
Re: Initial rests in MIDI not included?
On 2023-09-27 4:20 am, Kevin Cole wrote:
I just tried it again with the attached, and still do not get "The
Sound of
Silence" ;-)
$ cat mwe.ly
\version "2.24.2"
\language "english"
global = {
\time 4/4
\key f \major
\tempo 4=150
}
PartFour = \relative a {
\global
\clef "treble"
\partial 4 a4
}
\score {
\new Voice = "PartFour" {
R1*32 R1*24
\repeat unfold 4 {
\transpose c c,, { \PartFour }
}
}
\midi { }
}
$ lilypond mwe.ly
GNU LilyPond 2.24.2 (running Guile 2.2)
Processing `mwe.ly'
Parsing...
Interpreting music...
MIDI output to `mwe.midi'...
Success: compilation successfully completed
$ timidity mwe.midi
Playing mwe.midi
MIDI file: mwe.midi
Format: 1 Tracks: 2 Divisions: 384
Text: creator:
Text: LilyPond 2.24.2
Track name: \new:PartFour
Playing time: ~5 seconds
Notes cut: 0
Notes lost totally: 0
Loads into a sequencer as expected, so the MIDI file itself seems fine.
-- Aaron Hill
Re: lilypond 'not recognized'
On 2023-09-28 12:22 am, Jean Abou Samra wrote: Le jeudi 28 septembre 2023 à 06:26 +, bobr...@centrum.is a écrit : Understood. As noted in my original post, I also still have v2.22.2 installed which I installed with the installer. The fact that I installed 2.22.2 with the installer leaves me puzzled as to why I can't invoke it without the full path. I think you might need to call it as "lilypond.exe", not "lilypond". Or maybe "lilypond-windows.exe". I don't really know much about Windows terminals though. lilypond-windows.exe differs only in that the executable targets the GUI subsystem. The effect is that it runs without needing to spawn a visible terminal window with the process. When setting up file association for .ly files, it can be very useful. If you are already in a console environment however, then there should be no functional difference between lilypond.exe versus lilypond-windows.exe. In general, executable types (.exe, .com, .bat, .cmd...) are assumed by the classic* command prompt, so typing "lilypond" should be able to find and resolve to a "lilypond.exe" in the PATH if it exists. You can run "where lilypond" to verify not only that it is being found but also the locations of all matches if there are multiple. (* By "classic", I mean the old-school cmd.exe shell. If you are running an alternate shell such as PowerShell, then you will need to consult its documentation.) -- Aaron Hill
Re: Offset ClefTransposition number
On 2022-05-17 7:05 am, Dimitris Marinakis wrote:
Is it possible to offset the little number that indicates the clef
transposition?
I searched the Clef internals but couldn't find anything relevant.
It is called the ClefModifier. It would be useful to know what terms
you used to search so we can improve the ability to find the grob for
others in the future.
{ \override Staff.ClefModifier.color = #red
\override Staff.ClefModifier.padding = #1
\clef "treble_8" b4 \clef "treble^8" b''4
\clef "bass_8" d,4 \clef "bass^8" d'4 }
-- Aaron Hill
Re: ottava spanner terminates at the end of the note, not the end of the bar
On 2022-05-13 8:28 pm, Kenneth Wolcott wrote:
The ottava spanner terminates at the end of the note, not at the end
of the bar.
How to change this?
Screenshots attached.
Consider the following:
\version "2.22.0"
\relative c'' {
% Be careful not to stop the ottava too soon.
\ottava 1 c4 e g f8 d | c2. \ottava 0 r4
% This encompasses the rest as well but is still a little too short.
\ottava 1 c4 e g f8 d | c2. r4 \ottava 0
c8 d b c~ c2
% This would be nice...
% \override Staff.OttavaBracket.to-barline = ##t
% ...but it would appear OttavaBracket is not a
% line-spanner-interface, where to-barline lives.
% A manual adjustment is possible:
\once \offset shorten-pair #'(0 . -1) Staff.OttavaBracket
\ottava 1 c4 e g f8 d | c2. r4 \ottava 0
c8 d b c~ c2
\bar "|."
}
Assuming you only have a few of these you need to manage, the manual
offset might be sufficient to let you move onto other things in your
score. But you will need to review these if you make any changes that
affect the measure length. An automated approach might be possible, but
really I think OttavaBracket should support to-barline. Something to
submit to the bug mailing list I guess.
Was almost about to hit send, but then I thought... what if you hid the
OttavaBracket but used a TextSpanner in its place?
\relative c'' {
\once \hide Staff.OttavaBracket
\ottava 1
c4 -\tweak to-barline ##t
-\tweak dash-fraction #0.3
-\tweak dash-period #1
-\tweak bound-details.left.text
\markup \vcenter \bold 8
-\tweak bound-details.right.stencil
#(make-line-stencil 0.1 0 0 0 -0.8)
\startTextSpan
e g f8 d
| c2. r4 \ottava 0
c8\stopTextSpan d b c~ c2
}
Hmm... maybe not. That is a lot of tweaks, and I do not think I matched
the original OttavaBracket well enough.
-- Aaron Hill
Re: Problem with a snippet "shorthand for triplets [0.21429]"
On 2022-06-27 6:18 am, Jean Abou Samra wrote: The LSR runs LilyPond 2.22 and you have 2.18. You need to upgrade LilyPond. Frescobaldi makes it easy to use several versions in parallel. As far as I can see, the LSR only notes the current version in Contributing [1]. [1]: https://lsr.di.unimi.it/LSR/html/contributing.html Would it be possible to have this information displayed prominently on the search page itself? Unless users are following the mailing list threads, they would not be aware of the recent upgrade to 2.22. -- Aaron Hill
Re: Lilypond not generating PDF
On 2022-07-04 1:50 am, Andrew Bernard wrote: I see from searching that the issue is with elevated and non elevated permissions. Where do you see this? Drag-and-drop is a simple feature of the Windows shell that should require no special permission. What are the details of the LilyPond shortcut on the desktop? Which executable does it reference? Does it specify any additional arguments? What is the start directory? etc. For additional diagnostics and troubleshooting, I would recommend reviewing the behavior logged by Process Monitor [1] (from Sysinternals). In particular, take note of any errors originating from LilyPond or its child processes. [1]: https://docs.microsoft.com/en-us/sysinternals/downloads/procmon -- Aaron Hill
Re: Lilypond not generating PDF
On 2022-07-04 3:03 pm, Paul Hodges wrote: Blocking dropping onto elevated targets from a non-elevated desktop has been a security feature of UAC since it was introduced a decade and a half ago. You can remove the restriction by running with UAC turned off, which the security-minded will of course advise you not to do, and many people have no clue about anyway (it is, however, the way I run my machine, because I choose how to control my security myself). Alternatively, you can get a third-party file manager, run it with elevated permissions, and then drop and drop within it - but you can't elevate Windows Explorer to try to get the same effect. LilyPond does not require nor does it request elevation. The UAC limitation you refer to is irrelevant, as that only concerns cross-application behavior where one process has a lower privilege level. There would be no such problem when you are dragging and dropping files within the shell itself, as would be the case when dropping onto a desktop shortcut. -- Aaron Hill
Re: Lilypond not generating PDF
On 2022-07-04 5:49 pm, Aaron Hill wrote: On 2022-07-04 5:07 pm, Andrew Bernard wrote: I'm sorry, I don't understand this. Dragging test.ly on the desktop to the LilyPond icon on the desktop fails to produce the PDF output. Both on Windows 10 and 11. That is a different issue than the UAC drag-and-drop limitation that was mentioned. Elevated permissions is almost certainly a red herring, and something bigger is likely being masked. I will take a look and see what is going on. Just give me some time, as I will need to set up a test environment first. As expected, elevation is masking an underlying issue. The desktop shortcut is wrong. It specifies a start directory of "C:\Users\Public\Desktop" which is coincidently the location in which the shortcut is created. The public desktop is a special directory transparently replicated to all individual user desktops. By design, it does not offer write permission to users. LilyPond is failing to compile because it attempts to create a temporary file at that location. Open question: Why is LilyPond not using the %TEMP% directory for such things? Leaving the start directory field blank within the shortcut appears to fix things. -- Aaron Hill
Re: Lilypond not generating PDF
On 2022-07-04 5:07 pm, Andrew Bernard wrote: I'm sorry, I don't understand this. Dragging test.ly on the desktop to the LilyPond icon on the desktop fails to produce the PDF output. Both on Windows 10 and 11. That is a different issue than the UAC drag-and-drop limitation that was mentioned. Elevated permissions is almost certainly a red herring, and something bigger is likely being masked. I will take a look and see what is going on. Just give me some time, as I will need to set up a test environment first. -- Aaron Hill
Re: Lilypond not generating PDF
On 2022-07-04 8:03 pm, Andrew Bernard wrote: We are getting to the nub of it. When you save the test.ly file you have to save it to C:\Users\\Desktop not the default which is C:\Users\Public\Desktop. And make the start directory in the link C:\Users\\Desktop [...] Nothing should ever be defaulting to the public desktop. Under normal operation, that folder will not have write permissions. In fact, it should be a hidden folder and not normally visible. Since users are able to remap their profile directory, a path like %userprofile%\Desktop would be better, however users with OneDrive enabled would find their desktop at %userprofile%\OneDrive\Desktop. (making it blank did not work for me) When I drag-and-drop a file onto a shortcut without a start directory, the current directory is getting set based on the file being dragged. I see the same behavior when dropping onto the target program itself. -- Aaron Hill
Re: Override NoteHead glyph
On 2022-06-22 12:19 pm, Ahanu Banerjee wrote:
Hello,
I am trying to create noteheads (without stems) that have a duration
longer
than a quarter note (crotchet) but are filled-in. They are meant to
represent the notes that will be heard when a harmonic is played. I am
not
sure how to do this; one workaround is to use a quarter note value and
a
spacer rest, but this results in too much empty space. I tried
\override
NoteHead.glyph-name = #'"noteheads.s2", but that did not work.
Example below (the notes are arbitrary):
\version "2.23.7"
\relative c''
{ << { \override Parentheses.font-size = #-1.5 \omit Flag \omit Stem
\teeny \tweak X-offset #0.2
%% the higher voice should have filled-in noteheads
<\parenthesize d \parenthesize f>2 } \\
{ 2 } >> }
You can scale the duration of any note so as to preserve its normal
appearance but take up the required length:
\fixed c' { b4*2 a | b4*3 a4 | b4*4 | a1 }
-- Aaron Hill
Re: color individual characters
On 2022-06-05 1:13 pm, Лысов Дмитрий wrote:
Hi. How to color individual characters in the UNICODE encoding text?
The examples did not come through for me--perhaps an encoding issue
between our mail clients, or my mail server is just being overly
paranoid about attachments that could contain executable code.
--
Here is an example of applying unique colorization to a character and a
combining character:
\version "2.22.0"
\markup {
\concat {
jalape
\with-color #blue n
\with-color #red \char ##x0303
o
}
}
The above usage pattern does break up the input into separate pieces.
As such, Pango observes the 'n' distinctly from the combining tilde,
effectively preventing it from converting to the pre-composed glyph 'ñ'.
(In the case above, we would not want the pre-composed glyph anyway
because we desire independent coloring.)
Fonts with more advanced replacement rules for handling complex scripts
and ligatures will not work, as Pango needs to see the whole input to
apply the proper logic. And at that point, \with-color is only left
with the option to apply color to the entire resulting stencil.
-- Aaron Hill
Re: Passing arguments to grob-transformer
On 2022-06-17 3:35 pm, Jean Abou Samra wrote:
Le 18/06/2022 à 00:24, Leo Correia de Verdier a écrit :
#(define elongate (lambda (grob amt)
(let ((stil (ly:grob-property grob 'stencil)))
(ly:grob-set-property! grob 'stencil
(ly:stencil-scale stil 1 amt)
{ \override Accidental.before-line-breaking = #(lambda (grob)
(elongate grob 2))
cis'2 }
#(define (elongate amt)
(grob-transformer
'stencil
(lambda (grob original)
(ly:stencil-scale original 1 amt
{ \override Accidental.stencil = #(elongate 2)
cis'2 }
Also consider expressing this as music function:
elongate =
#(define-music-function
(grob-path amount) (key-list? number?)
(define proc
(grob-transformer 'stencil
(lambda (grob orig)
(ly:stencil-scale orig 1 amount
#{ \override $grob-path . stencil = #proc #})
{ \elongate Staff.TimeSignature -1.5
\once \elongate Accidental 2 cis'2 ees' }
-- Aaron Hill
Re: Left-hand end of tuplet bracket sometimes wrong
On 2022-06-03 10:10 am, Paul Hodges wrote:
I find that even using shorten-pair (with a negative first value)
fails to do this as I expected. So now I don't know any way to print
the bracket with the preferred layout...
You would want to adjust the X-positions, so that the TupletNumber is
centered properly. See the difference:
\version "2.22.0"
{
\offset shorten-pair #'(-1 . 0)
\tuplet 3/2 \relative { f'4 g a }
\offset X-positions #'(-1 . 0)
\tuplet 3/2 \relative { f'4 g a }
}
Since an offset of one staff space is only approximate, you would need
to consult the bounds of the NoteColumns directly:
{
\override TupletBracket.X-positions =
#(lambda (grob)
;; NOTE: The logic here does not fully replace
;; ly:tuplet-bracket::calc-x-positions
(let* ((nc (ly:grob-object grob 'note-columns))
(xref (ly:grob-common-refpoint-of-array grob nc X))
(lb (ly:spanner-bound grob LEFT))
(lbex (ly:generic-bound-extent lb xref))
(lbrc (ly:grob-relative-coordinate lb xref X))
(rb (ly:spanner-bound grob RIGHT))
(rbex (ly:generic-bound-extent rb xref)))
(cons (- (car lbex) lbrc) (- (cdr rbex) lbrc
\tuplet 3/2 \relative c' { 4 g }
\tuplet 3/2 \relative c'' { 4 d }
}
Tuplet_Bracket::calc_x_positions relies on Item::get_x_bound_item, which
includes the logic to prefer using the Stem of a NoteColumn as the bound
item if the direction matches.
The code above simply ignores that behavior and computes X-positions
purely based on the extents of the NoteColumns. Mind you,
Tuplet_Bracket::calc_x_positions does more work to account for
properties like connect-to-neighbor, break-overshoot, and
full-length-to-extent, so this is not a true replacement/fix.
-- Aaron Hill
Re: Fretboard diagrams: Why does LilyPond sometimes try to interpret ":7" as a duration?
On 2022-07-25 1:56 pm, Kevin Cole wrote:
frets = \chordmode { f4 c4:7 g4:7 c4 bf4 d4:m }
^^
Input is in chord mode. Modifiers like :m and :7 work.
frets = { g4 c4 a4 d4:7 }
^
Missing \chordmode. :7 indicates a tremolo with an invalid duration.
-- Aaron Hill
Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?
On 2022-07-28 6:29 am, David Kastrup wrote: \laissezvibrer might be an alias, though I am not sure whether it would not, in that function, be deserving of some tweaks giving it a longer minimal visual length. Isn't it also conventional to annotate it "l.v."? If we had a more general semi-tie command, \laissezVibrer could sit on top of that and, as you say, tweak it to be more fitting of the original function name. -- Aaron Hill
Re: Is there a SIMPLE way to embed an href in a title?
On 2022-07-21 8:07 pm, Kevin Cole wrote:
Hi,
The subject line pretty much says it all (or most).
Ideally, I'd like to be able to do something like:
\header {
title = "This is the title"
}
and have Lilypond generate a PDF with the tile linking to wherever I
point it/
I'm hoping to avoid lots of Scheme, lilypond-book, TeX, etc, etc. that
I don't understand. The cost / benefit isn't worth writing a whole lot
of additional code to accomplish the linking. (The linking isn't
critical enough to be worth a lot of time, and I can think of simpler,
though less satisfactory solutions.)
Pretty sure \with-url does that:
title = \markup \with-url #"https://example.com/; example
%%%%
-- Aaron Hill
Re: Ties between voices
On 2022-07-27 1:41 am, Thomas Morley wrote:
I stumbled across a certain condition. In tie-column::add_tie there is
(> (car (ly:grob-spanned-column-rank-interval
tie-column))
(car (ly:grob-spanned-column-rank-interval
tie-column)))
How could this ever be true?
Looks to be a transcription error. The original C++ looks like this:
if (!me->get_bound (LEFT)
|| (me->get_bound (LEFT)->get_column ()->get_rank ()
> tie->get_bound (LEFT)->get_column ()->get_rank ()))
{
me->set_bound (LEFT, Tie::head (tie, LEFT));
me->set_bound (RIGHT, Tie::head (tie, RIGHT));
}
The relevant conditional check is regarding the "me" grob versus the
"tie" grob.
-- Aaron Hill
Re: Searching fonts?
On 2022-07-13 10:35 pm, Alasdair McAndrew wrote: Hello, I'm trying to find a suitable system font for use with some tablature I'm typesetting. The command "lilypond -dshow-available-fonts" does indeed do exactly that, but there are so many fonts on my system that this command is not helpful on its own. What I'd like is some way of searching the font list. For example, I'd hope to write that font list to a file, which I could explore at leisure. I'm using Linux, and normally I can redirect the output of a command to a file, such as ls -l > list.txt But this doesn't work with the lilypond font command. I'm quite mystified that the lilypond somehow ignores shell commands; at least in this instance. This same behaviour means I can't pipe the output of the font command to grep for searching. How can I search the list of available fonts? The fonts are output via stderr. You'll need to use 2>&1 to redirect the stream. lilypond -dshow-available-fonts 2>&1 | grep -i 'something' -- Aaron Hill
Re: hspace in markup cancels other directives
On 2022-07-30 8:12 pm, Jim Cline wrote:
I am trying to use \hspace to adjust the horizontal position of a text
markup.
\hspace is probably not the best tool. Consider \tweaking the text
script:
bes-\tweak self-alignment-X #RIGHT
^\markup \smaller \with-color #blue text
bes-\tweak X-offset #-3
^\markup \smaller \with-color #blue text
In addition I want the text to be colored and smaller. But
the \hspace directive somehow disables the others, as in this example.
\version "2.20.0"
lower =
\relative c {
\time 3/4
\clef bass
bes^\markup{\smaller \with-color #blue \hspace #-3 text} r4
bes^\markup{\smaller \with-color #blue text}
}
The effects of markup commands only apply to their specific markup
arguments.
What you have effectively done is this:
\markup {
\smaller { \with-color #blue { \hspace #-3 } }
text
}
You could explicitly group the space and text:
\markup \smaller \with-color #blue { \hspace #-3 text }
Alternately, move the space outside the other commands:
\markup { \hspace #-3 \smaller \with-color #blue text }
-- Aaron Hill
Re: Engraving for harp as a member of an ensemble, to play midi, use piano as midi instrument?
On 2022-07-29 8:33 pm, Kenneth Wolcott wrote: SInce a harp is not a recognized midi instrument, when using midi to verify that the rhythm and pitches are correct, should one designate the midi instrument as an "acoustic grand" or will it automatically resolve to that instrument? As a long time user of General MIDI, harp is most definitely a supported instrument in the original specification. It is in the "Strings" block: 47 = Orchestral Harp -- Aaron Hill
Re: Strange issue where lilypond runs a line off the page
On 2022-08-29 4:03 pm, Galen Hazelwood wrote: I don't see what other event it could be talking about. I don't know if this is an actual problem, or my understanding of lilypond isn't good enough yet. It is an unbreakable beam that is blocking things. Your \override for Beam.breakable applies only to the current Voice context. When you create the two new Voices within the << >> construct, neither will see the overridden property. You have a few options. You can move the \override to the inner Voice that has the problematic beam, or you can make the outer \override apply to the Staff context instead: \override Staff.Beam.breakable = ##t %%%% -- Aaron Hill
Re: stringNumber fontsize and half position
On 2022-08-29 10:28 pm, Christophe Godefroy wrote:
Thanks a lot for the hints this was very useful. Half position is
noted 1/2.
I've tested the markup option but the font is quite different so to
uniform it I was looking for the same syntax
Depending on your needs, the \finger or \number markup commands might be
sufficient. You could also set the font to fetaText directly:
\markup {
\finger { 1 2 } \number { 3 4 }
\override #'(font-encoding . fetaText) { 5 6 }
}
-- Aaron Hill
Re: Why not have a Lilypond documentation set arranged as layman's Q: does LP do this?
On 2022-08-18 8:49 am, Kenneth Wolcott wrote: What even makes it more difficult is when I don't even know what something is called at all (no terminology) and/or when I have no clue how to succinctly describe what it is that I don't know. For example, the tremolo; I recognized the graphic but I had no way to search for it by appearance, only read every line of the documentation until I find it and the "ah ha". This is where I imagine the visual index is most helpful. But I do wonder how often the Music Glossary is overlooked as a resource. It includes pictures for entries; in this case, tremolo is represented. Going outside of LilyPond's manuals, Wikipedia has a good list [1]. [1]: https://en.wikipedia.org/wiki/List_of_musical_symbols -- Aaron Hill
Re: How to get .ly from .pdf
On 2022-09-07 1:44 am, Paul McKay wrote: Hi I'm planning to learn Chopin's Prelude Op28 No4. I looked on Imslp and found that Mr Snortum has already turned it into .ly. That was going to be my next move because I need to add my own fingering and dynamics. On the IMSLP page Knute says that the .ly files are included. (I have spotted that exporting the lilypond source when making a PDF is an option in Frescobaldi.) All the searches I have done just talk about how LilyPond exports to PDF. Can someone please tell me how to retrieve such the .ly from the .pdf. There is a separate download link for the source files. If you expand the entry, you can see the individual preludes and at the bottom is "Engraving Files (LilyPond)" [1]. [1]: https://imslp.org/wiki/Special:ImagefromIndex/800964/hfjn -- Aaron Hill
Re: How to get .ly from .pdf
On 2022-09-07 4:04 am, Paul McKay wrote: Thanks very much, Aaron. I hadn't noticed that. It worked perfectly. Thanks to Knute for engraving them too. It will be *so *good to see how real .ly files look. I will do my best to steal all the good ideas. There is certainly no shortage of good ideas from the many users on the mailing list. Anytime someone is able to publish the source for a real-world score, there is hope of finding some new pattern or structure that can streamline your own work. -- Aaron Hill
Re: Three-column Table of Contents
On 2022-09-05 5:12 pm, Adam M. Griggs wrote:
That's wonderful! Exactly what I was after, all the way down to the
internal hyperlinking.
Well, all of the linking work is part of the built-in table of contents
support in LilyPond.
For fun, though, I continued with the idea and came up with another
approach that might be a little more extensible. In this case, I
demonstrate support for three data fields (not including the page
number):
\version "2.22.0"
\paper {
%% This is where you style an individual custom TOC item.
%% Custom properties like toc:first should exist here.
tocCustomItemMarkupInner =
\markup
\fill-line {
\line {
\hspace #12
\with-dimensions-from \hspace #1
\general-align #X #RIGHT \fromproperty #'toc:first
\bold \override #'(thickness . 2) \whiteout
\fromproperty #'toc:second
}
\italic \override #'(thickness . 2) \whiteout
\fromproperty #'toc:third
\fromproperty #'toc:page
}
%% This is mainly a wrapper that stuffs the desired formatting
%% above into a property that will be referenced by toc:text.
tocCustomItemMarkup =
\markup \overlay {
\fill-with-pattern #1 #RIGHT "." \hspace #13 \hspace #1
\override #(cons 'toc:inner tocCustomItemMarkupInner)
\fromproperty #'toc:text
}
}
tocCustomItem =
#(define-music-function
(first second third)
(markup? markup? markup?)
(add-toc-item!
'tocCustomItemMarkup
;; This is where all of the custom properties are given
;; their values. Note that we also reference toc:inner
;; which will get its value via tocCustomInnerMarkup.
#{ \markup \override #(cons 'toc:first first)
\override #(cons 'toc:second second)
\override #(cons 'toc:third third)
\fromproperty #'toc:inner #}
'()))
\markuplist
\override #'(line-width . 80)
\table-of-contents
\tocCustomItem lorem ipsum dolor
\markup \null \pageBreak
\tocCustomItem sit amet consectetur
\markup \null \pageBreak
\tocCustomItem adipisicing elit sed
\markup \null \pageBreak
\tocCustomItem do eiusmod tempor
\markup \null \pageBreak
\tocCustomItem incididunt ut labore
\markup \null \pageBreak
\tocCustomItem et dolore magna
\markup \null \pageBreak
\tocCustomItem aliqua ut enim
\markup \null
-- Aaron Hill
Re: Three-column Table of Contents
On 2022-09-05 7:29 am, Adam M. Griggs wrote:
[ . . . ]
Given this rough mockup of the wanted end result, is it possible for me
to
automatically generate such a ToC?
It requires working around some limitations of the built-in \tocItem.
Importantly, \tocItem only supports providing a single markup for each
item. As such, \table-of-contents will only output two columns of data:
the text for an item and its page number.
Short of ripping out the guts of \table-of-contents and allowing a more
flexible input format, we can cheat a little. The text of each item is
itself markup, so you can provide much more than just a simple bit of
text. If we cram two pieces of data into that field, the final table of
contents will appear to have three columns of data.
The main limitation is that we have to split up the formatting of each
line into two parts. So this requires careful coordination to ensure
things lay out as expected.
Here is just one way of doing this:
\version "2.22.0"
\paper {
myTocItemMarkup = \markup
\fill-line {
\null
\override #'(line-width . 50)
\overlay {
\tiny \fill-with-pattern #0.75 #RIGHT "." \null \null
\fill-line \larger {
\fromproperty #'toc:text
\override #'(style . outline)
\override #'(thickness . 3) \whiteout
\fromproperty #'toc:page
}
}
\null
}
tocDividerMarkup = \markup
\pad-around #3
\fill-line { \null ". . ." \null }
}
myTocItem =
#(define-music-function
(piece parts)
(markup? markup?)
(add-toc-item!
'myTocItemMarkup
#{
\markup \concat {
\with-dimensions-from \hspace #20
\override #'(thickness . 2) \whiteout
$piece
\override #'(thickness . 2) \whiteout
$parts
}
#}
'()))
tocDivider =
#(define-music-function () ()
(add-toc-item! 'tocDividerMarkup "" '()))
\book {
\markuplist \table-of-contents
\myTocItem "Piece I" "SSAA"
\markup \null \pageBreak
\myTocItem "Piece I" "SATB"
\markup \null \pageBreak
\myTocItem "Piece II" "SSAA"
\markup \null \pageBreak
\markup \null \pageBreak
\myTocItem "Piece II" "SATB"
\markup \null \pageBreak
\markup \null \pageBreak
\markup \null \pageBreak
\myTocItem "Piece II" "TTBB"
\markup \null \pageBreak
\markup \null \pageBreak
\markup \null \pageBreak
\markup \null \pageBreak
\markup \null \pageBreak
\tocDivider
\myTocItem \markup \bold "Piece XXVI"
\markup \italic "SSAATTBB"
\markup \null
}
-- Aaron Hill
Re: smaller Text at CueVoice
On 2022-08-28 1:41 pm, Alexander Weidner wrote:
how can I get a smaller fontsize for text under a CueVoice?
<<
\new CueVoice = "Hirte" {
\relative c'' {
\autoBeamOff \stemUp
s4 s8 a16 a16 d8 d8 r16 d16 d16 e16 |%T1
}
\new Lyrics \lyricsto "Hirte" {
\override Lyrics.font-size = #-3
Naht der Him -- mel?
Bin ich im Him -- mel?
}
>>
LilyPond's output should be calling your attention to a bad grob
property path with your \override command. Make sure to check the
documentation (Notation Reference and Internals) to ensure you have the
right name. The Visual Index is also a helpful tool, which soon will be
integrated into the official documentation.
In this case, LyricText and potentially also LyricHyphen would be the
grobs you need to be modifying. However, there is perhaps an easier
option using a context property:
\new Lyrics \with { fontSize = -3 }
-- Aaron Hill
Re: Passing a parameter to Scheme
On 2022-10-29 2:50 am, Paul Hodges wrote:
%%
speak = {
\once \override Stem.stencil =
#(lambda (grob)
(let* ((x-parent (ly:grob-parent grob X))
(is-rest? (ly:grob? (ly:grob-object x-parent 'rest
(if is-rest?
empty-stencil
(ly:stencil-combine-at-edge
(ly:stem::print grob)
Y
(- (ly:grob-property grob 'direction))
(grob-interpret-markup grob
(markup #:center-align #:fontsize
-2
#:musicglyph
"noteheads.s2cross"))
-2.3
}
%%
This works fine, writing "\speak c4" for instance.
However, I'd like to be able to parameterise the position of the cross
which is hard-coded as -2.3, so that I can write "\speak #-3.8 c" for
instance. I've tried a couple of ways to write it, but I can't find
one that works. I suppose that I will need something like "lambda
(grob posn)" to define the parameter for use at the end, but I can't
see how to get the value of posn from the LilyPond source into the
Scheme procedure.
Review the documentation on defining and using music functions:
[1]:
https://lilypond.org/doc/v2.23/Documentation/extending/music-functions
You could end up with something like this:
speak =
#(define-music-function
(position)
(number?)
(define (stencil-proc grob)
(let* ((x-parent (ly:grob-parent grob X))
(is-rest? (ly:grob? (ly:grob-object x-parent 'rest
(if is-rest?
empty-stencil
(ly:stencil-combine-at-edge
(ly:stem::print grob)
Y
(- (ly:grob-property grob 'direction))
(grob-interpret-markup grob
(markup #:center-align #:fontsize -2
#:musicglyph "noteheads.s2cross"))
(- position)
#{ \once \override Stem.stencil = #stencil-proc #})
{
\speak 1.6 g'4
\speak 2.2 b'8 8
\speak 2.8 a'2
}
-- Aaron Hill
Re: Terminology question
On 2022-10-30 10:39 pm, Jacques Menu wrote: Is there a LilyPond-specific term for the position of an element in a measure, such a 7/16? I believe "moment" is what you are looking for. -- Aaron Hill
Re: Tried to use "music box" with Lilypond 2.22.2, get lots of Scheme errors
On 2022-09-20 4:27 pm, Kenneth Wolcott wrote:
Hi;
Tried to use "music box" with Lilypond 2.22.2, get lots of Scheme
errors.
https://lsr.di.unimi.it/LSR/Search?q=music+box
See attachments. I did not include my generated pdf file because it
pertains to the input file prior to trying to implement the music box.
Thanks,
Ken Wolcott
~/bin/engrave.pl --lpv=2.22.2 --s=O_Holy_Night.ly
GNU LilyPond 2.22.2 (running Guile 2.2)
Processing `O_Holy_Night.ly'
Parsing...Backtrace:
[...]
ice-9/eval.scm:159:9: Value out of range 0 to 18446744073709551615: -14
Review the documentation for LSR 346. The transformation pattern must
use notes starting from middle C. Your pattern has notes in a much
lower octave, which results in a negative index. So, you would want to
say something like this:
make_bass_pattern = \defineTransform \tuplet 6/4 \fixed c' { c8( d e f g
a) }
However, you can do this more efficiently, removing the redundant notes:
make_bass_pattern = \defineTransform \tuplet 6/4 \fixed c' { c8( d e f d
e) } % 1 2 3 4 2 3
% ...
| \make_bass_pattern { g, g d b } \make_bass_pattern { b, g d b }
| \make_bass_pattern { b, g d b } \make_bass_pattern { b, g d b }
| \make_bass_pattern { b, g d b } \make_bass_pattern { c g e c' }
% ...
-- Aaron Hill
Re: Four eighth note beamed when first eighth note looks like a half note
On 2022-10-13 1:31 pm, Knute Snortum wrote:
I have a situation that seems like it would be straightforward. I
want four eighth notes beamed with the first eighth looking like a
half note. I thought I could just do this:
{ b2*1/4[ b'8 b' b'] }
But that code doesn't attach the beam to the first note and produces
two warnings:
warning: stem does not fit in beam
warning: beam was started here
What am I doing wrong?
Does this help?
{ \tweak duration-log 1 b8[ b' b' b'] }
-- Aaron Hill
Re: 2.23..13 hairpins in brackets
On 2022-10-06 10:31 am, Paul Scott wrote:
In 2.23.13 Notation 1.3.1 shows how to mix normal text with dynamic
text.
Is there a way to mix normal text, brackets specifically, with
hairpins?
This is used in the U.S. Marine Band versions of the Sousa marches.
Have you looked further in the docs? See the subsection on "New dynamic
marks" [1], where there is a particular snippet that shows off
customizing dynamics (including brackets) that work along side hairpins:
roundF = \markup { \center-align \concat {
\normal-text { \bold { \italic ( } }
\dynamic f
\normal-text { \bold { \italic ) } } } }
boxF = \markup { \bracket { \dynamic f } }
mfEspress = \markup { \center-align \line {
\hspace #3.7 mf \normal-text \italic espress. } }
roundFdynamic = #(make-dynamic-script roundF)
boxFdynamic = #(make-dynamic-script boxF)
mfEspressDynamic = #(make-dynamic-script mfEspress)
\relative {
c'4_\roundFdynamic\< d e f
g,1~_\boxFdynamic\>
g1
g'1~\mfEspressDynamic
g1
}
[1]:
https://lilypond.org/doc/v2.23/Documentation/notation/expressive-marks-attached-to-notes#new-dynamic-marks
[2]: https://lilypond.org/doc/v2.23/Documentation/b2/lily-b81795aa.png
-- Aaron Hill
Re: Music function help
On 2022-10-01 7:36 pm, Mark Probert wrote:
I'm just starting to play more with music functions and obviously
haven't
got something. I'm want to create a basic substitution-style function
to
create a vocal portamento. The code I have so far doesn't work
correctly
and I wonder if someone can point me in the right direction.
Is this what you were intending?
\version "2.22"
portamento =
#(define-music-function
(start end) (ly:music? ly:music?)
#{
\afterGrace { #start \glissando } #end
#})
tune = \relative c'' {
r2 \portamento g2 g'8 |
}
\score {
<<
\new Staff \tune
>>
}
-- Aaron Hill
Re: LilyPond-2.22.2 does not work on Windows XP
On 2022-10-14 12:18 am, J Martin Rushton wrote: For some reason best known to Microsoft Windows held systems down in 32-bit node for years after they were internally 64- bit. Microsoft did not "hold systems down". In the era of XP, Windows came in a 64-bit version, colloquially known as XP64. The main issue was that most consumers at that time only had access to 32-bit hardware, so it was not a priority to market 64-bit support. Over time, computer manufacturers have made 64-bit hardware the norm; but as anyone with IT experience knows: clients are rarely eager to spend money upgrading when things are not completely broken. (And even then when the office is on fire, some are still stingy.) So notwithstanding the average home user facing rising costs of new computers, Microsoft has many business, educational, and government customers that would all have to get aboard the 64-bit train. As I recall, Windows 10 was supposed to launch as 64-bit only; yet even it still has an installation option to run on 32-bit processors. It is looking like Windows 11 will be the first release to draw the line in the sand and cut off old hardware. -- Aaron Hill
Re: Score, DS and Coda Question
On 2022-09-30 11:22 am, Greg Lindstrom wrote: I've engraved a score which includes a "D.S." and Coda. I had no problem adding the Text (D.S. al Coda") and signs, but currently there is no break in the score between after the measure to go back to the sign and the actual coda. In other works I've seen, the Coda is "broken off" from the main score to make it stand out. I have ideas on how to do this but thought I'd ask because I went to the trouble to manually combine two parts in the score only to later discover the \partCombine feature. Before I try to "tong and hammer" this, is there a better (easier, "lilypond") way? Manually inserting a \break might suffice. That's all I do in my scores. If you need more than that, the LSR [1] offers several ways to handle coda positioning. \pseudoIndent [2] is an especially powerful tool. [1]: https://lsr.di.unimi.it/LSR/Search?q=coda [2]: https://lsr.di.unimi.it/LSR/Item?id=1098 -- Aaron Hill
Re: very simple off-topic question regarding command line viewing of postscript files on macOS
On 2022-08-03 3:07 am, Lukas-Fabian Moser wrote: Since we're both not English native speakers, there may be a problem of missing the appropriate tonality involved. I'm positive that Jean didn't mean to say "that's not a good question, go away" any more than I did. Was this what our responses sounded like for a native speaker? As a native English speaker, I can allay your concerns. The original wording was reasonably clear to me. Granted, if someone is unfamiliar with the term XY in this context, that might be a stumbling block. However, the follow-up question importantly sought out the missing information. The only advice I could give is to try to lead with the actionable item first. That is, ask for clarification and then qualify that such information would help resolve a possible XY problem. This aligns with the tl;dr principle in online discourse. Our attention spans often become quite short when we are struggling to meet a tight deadline. -- Aaron Hill
Re: Controlling stem lengths in a global way
On 2022-08-15 4:15 pm, Knute Snortum wrote:
On Mon, Aug 15, 2022 at 4:00 PM Aaron Hill
wrote:
On 2022-08-15 3:11 pm, Knute Snortum wrote:
> I am engraving a piece where there are many groups of 16th notes where
> the first note is normal size and the rest should look like grace
> notes. I'm using \scaledDurations, \magnifyMusic and \normalsize to
> do this, but I'm running into a systemic problem: the stems of the
> normal size notes are mostly too short (they'd be fine if they were
> grace notes). To get around this I'm using beam position overrides
> and tweaks, but this gets tedious quickly. Is there a) a systemic way
> to tweak the stem lengths, and/or b) better way for me to do this?
>
> %%%
> \version "2.22.2"
> \language "english"
>
> ns = \once \normalsize
>
> % Short stems on the normalsize notes
> \relative d'' {
> \magnifyMusic #2/3 {
> \scaleDurations 2/3 {
> \ns d16 f, g c, f g \ns c e, g c, e g
> \ns c d, g c, d g \ns c e, g c, e g |
> }
> }
> }
>
> beamPositionA = \tweak Beam.positions #'(4 . 2) \etc
> beamPositionB = \override Beam.positions = #'(3 . 1)
>
> % Need to tweak or override many, many notes
> \relative d'' {
> \magnifyMusic #2/3 {
> \scaleDurations 2/3 {
> \ns \beamPositionA d16 f, g c, f g \ns \beamPositionB c e, g c,
> e g
> \ns c d, g c, d g \ns c e, g c, e g \revert Beam.positions |
> }
> }
> }
> %%%
>
> --
> Knute Snortum
Would \offsetting positions make more sense? For instance, you could
do
this:
ns = \once {
\normalsize
% Stem needs a little bit more length
% to counteract magnifyMusic...
\offset positions #'(1 . 0) Beam
}
\relative d'' {
\magnifyMusic #2/3 {
\scaleDurations 2/3 {
\ns d16 f, g c, f g
\ns c e, g c, e g
\ns c d, g c, d g
\ns c e, g c, e g |
}
}
}
This does assume that the amount of lengthening required is uniform.
-- Aaron Hill
Works like a charm. Now I can have a couple of variables instead of
dozens. Thanks!
Another option is to use grob-transformer, which allows for smarter
logic such as handling stem direction:
ns = \once {
\normalsize
\override Beam.positions =
#(grob-transformer 'positions (lambda (grob orig)
(let ((dir (ly:grob-property grob 'direction)))
(cons (+ (car orig) (* dir 0.75)) (cdr orig)
}
\relative d'' {
\magnifyMusic #2/3 {
\scaleDurations 2/3 {
%% Some upward stem examples...
\ns d16 f, g c, f g
\ns c e, g c, e g
%% Some downward stem examples...
\ns f d' c e d c
\ns g d' b f' d b |
}
}
}
-- Aaron Hill
Re: Controlling stem lengths in a global way
On 2022-08-15 3:11 pm, Knute Snortum wrote:
I am engraving a piece where there are many groups of 16th notes where
the first note is normal size and the rest should look like grace
notes. I'm using \scaledDurations, \magnifyMusic and \normalsize to
do this, but I'm running into a systemic problem: the stems of the
normal size notes are mostly too short (they'd be fine if they were
grace notes). To get around this I'm using beam position overrides
and tweaks, but this gets tedious quickly. Is there a) a systemic way
to tweak the stem lengths, and/or b) better way for me to do this?
%%%
\version "2.22.2"
\language "english"
ns = \once \normalsize
% Short stems on the normalsize notes
\relative d'' {
\magnifyMusic #2/3 {
\scaleDurations 2/3 {
\ns d16 f, g c, f g \ns c e, g c, e g
\ns c d, g c, d g \ns c e, g c, e g |
}
}
}
beamPositionA = \tweak Beam.positions #'(4 . 2) \etc
beamPositionB = \override Beam.positions = #'(3 . 1)
% Need to tweak or override many, many notes
\relative d'' {
\magnifyMusic #2/3 {
\scaleDurations 2/3 {
\ns \beamPositionA d16 f, g c, f g \ns \beamPositionB c e, g c,
e g
\ns c d, g c, d g \ns c e, g c, e g \revert Beam.positions |
}
}
}
%%%
--
Knute Snortum
Would \offsetting positions make more sense? For instance, you could do
this:
ns = \once {
\normalsize
% Stem needs a little bit more length
% to counteract magnifyMusic...
\offset positions #'(1 . 0) Beam
}
\relative d'' {
\magnifyMusic #2/3 {
\scaleDurations 2/3 {
\ns d16 f, g c, f g
\ns c e, g c, e g
\ns c d, g c, d g
\ns c e, g c, e g |
}
}
}
This does assume that the amount of lengthening required is uniform.
-- Aaron Hill
Re: template for a "simple" theory exercise randomizer
On 2022-07-31 12:00 pm, Kieren MacMillan wrote:
Thanks for any help you can give!
Here is something I threw together quickly... Hope it offers some
inspiration:
\version "2.22.0"
createExercise =
#(define-scheme-function
(clef key root)
(symbol? ly:pitch? ly:pitch?)
#{
\markup \score {
\new Staff {
\omit Score.TimeSignature
\clef #(symbol->string clef)
\key $key \major
$root 1
\bar "||"
}
}
#})
randomElement =
#(define-scheme-function
(list-of-elements) (list?)
(list-ref list-of-elements
(random (length list-of-elements
clefs = treble,bass
keys = #(music-pitches #{
c des d ees e f fis g aes a bes b
#})
scaleDegreesFor =
#(define-scheme-function
(key) (ly:pitch?)
(music-pitches (ly:music-transpose
#{ { c d e f g a } #} key)))
\markup \wordwrap { #@(map
(lambda args
(let*
((clef #{ \randomElement \clefs #})
(key #{ \randomElement \keys #})
(root #{ \randomElement \scaleDegreesFor #key #}))
(if (eq? clef 'treble)
(set! root (ly:pitch-transpose root #{ c'' #})))
#{ \createExercise #clef #key #root #}))
(iota 24))
}
NOTE: I omitted scale degree seven intentionally to focus only on major
or minor triads.
-- Aaron Hill
Re: markups and accents inside staff
On 2022-07-31 2:11 pm, Jim Cline wrote:
Can you provide a MWE? (https://lilypond.org/tiny-examples.html)
--
Knute Snortum
Sure, here is one. The vspace is ignored, no matter what value is
given.
%%%
\version "2.20.0"
\relative c {
\time 3/4
g'' e' d_\markup{\hspace #-4 \vspace #-7 x}
}
I am not certain negative \hspace or \vspace is supported. For \hspace,
it probably only works by fluke.
Regardless, in order to overlap the staff, you must disable
outside-staff-priority. Additionally, you may need to specify negative
padding. Consider:
\relative c {
\time 3/4
g'' e' d-\tweak outside-staff-priority ##f
-\tweak X-offset -1.2 -\tweak Y-offset 1
_\markup \with-color #red \vcenter x
}
\relative c {
\time 3/4
g'' e' d-\tweak outside-staff-priority ##f
-\tweak padding #-5
_\markup \translate #'(-1.2 . 3.5)
\with-color #red \vcenter x
}
-- Aaron Hill
Re: template for a "simple" theory exercise randomizer
On 2022-07-31 12:48 pm, Aaron Hill wrote:
On 2022-07-31 12:00 pm, Kieren MacMillan wrote:
Thanks for any help you can give!
Here is something I threw together quickly... Hope it offers some
inspiration:
And here is a better and more readable version:
(Why I had all those unnecessary Scheme<->LilyPond escapes is beyond
me...)
\version "2.22.0"
createExercise =
#(define-scheme-function
(clef key root)
(symbol? ly:pitch? ly:pitch?)
#{ \markup \score {
\layout { indent = 0 }
\new Staff {
\omit Score.TimeSignature
\clef #(symbol->string clef)
\key $key \major $root 1 \bar "||"
}
} #})
randomElement =
#(define-scheme-function
(list-of-elements) (list?)
(list-ref list-of-elements
(random (length list-of-elements
scaleDegreesFor =
#(define-scheme-function
(key) (ly:pitch?)
(music-pitches (ly:music-transpose
#{ { c' d' e' f' g' a' } #} key)))
clefKeys.treble = { bes b c' des' d' ees' e' f' fis' g' aes' a' }
clefKeys.bass = { f, fis, g, aes, a, bes, b, c des d ees e }
\markup \wordwrap {
#@(map (lambda _
(let* ((clefKey (randomElement clefKeys))
(clef (car clefKey))
(keys (music-pitches (cdr clefKey)))
(key (randomElement keys))
(scaleDegrees (scaleDegreesFor key))
(root (randomElement scaleDegrees)))
(createExercise clef key root))
) (iota 24))
}
-- Aaron Hill
Re: How to get cross-staff beaming? Should be automatic; it's not. Why?
On 2022-07-31 7:10 pm, Kenneth Wolcott wrote:
However, the current incarnation of my Swan Lake harp part (one bar
so far), does not have a complete beam (only each triplet has a beam).
I thought that this would be automatic.
In 4/4 time, there is a default beam exception for "twelfth" notes.
\version "2.22.0"
\relative c' {
\time 2,2 4/4 %% Set desired beat structure and time signature.
\set Timing.beamExceptions = #'() %% Clear default exceptions.
\repeat unfold 4 \tuplet 3/2 { d8 e a }
}
%% Alternately...
\relative c' {
\time 2/2
\repeat unfold 4 \tuplet 3/2 { d8 e a }
}
-- Aaron Hill
Re: Alignment help
On 2022-08-17 12:30 pm, Rajesh Baskar wrote:
I'm trying to replace some of the notes with a question mark and I
achieved this with this group's help sometime back. Here is the
To get the alignment, you need to do a few things. The markup itself
needs to be vertically centered, and then the staff-position of the note
can be forced to be on the middle line:
\version "2.22.0"
\language english
questionMarkMarkup =
\markup \vcenter \fontsize #7 \with-color "#6A00F4" "?"
questionMark =
\tweak text \questionMarkMarkup
\tweak stencil #ly:text-interface::print
\tweak staff-position #0
\etc
{
\cadenzaOn \clef bass
g,1
\questionMark a,
\questionMark b,
\questionMark c
d
}
-- Aaron Hill
Re: \sustainOff on \alternative
On 2023-01-06 5:39 am, Lukas-Fabian Moser wrote:
Hi, I am using 2.22.2,
\after 4 \sustainOff b2 r
is useless, because of *unknown escaped string*
"Useless" sounds a bit harsh.
In the event OP's native language is not English, it might just be
unfortunate word choice rather than a criticism of the function's value.
Could you consider upgrading to LilyPond 2.24? That's the current
stable version (and my code was written for it). If that's impossible,
I can sidestep the use of \after, but frankly, it's easier to help you
if you provide a working example yourself.
I am fairly certain David K. wrote \after back in the 2.19 era, so there
should be no particular need to run 2.24. I found this version on an
old thread:
after =
#(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{
\context Bottom <<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
-- Aaron Hill
Quirk with short, but not too short, ties
Hi folks,
I noticed a peculiar quirk with how short ties are handled in LilyPond.
Take a look at the attached image (source code provided below). Notice
that the ties are not positioned the same. I suspect it might be
because the Fs are not the same distance away from each other, so in one
case LilyPond leaves the tie sitting on the staff line and in the other
the tie is pushed down.
For my purposes, I prefer the second rendering. Especially with the
slur present, I find that the tie in the first version is getting lost
between the notes. This example is a contrived excerpt from a larger
work, but this pattern shows up several times in the piece. While I was
proofreading, I almost thought one of the ties was missing. Attached is
a capture from my PDF viewer showing a particularly bad instance.
Is there a way for me to ensure that these short ties are consistently
offset to improve readability?
Many thanks!
\version "2.22.0"
\paper {
indent = 0
line-width = 12\cm
ragged-last = ##t
}
pattern = \relative c'' { c8 a a g16( f~ 8) r8 }
{
\key f \major \time 6/8
\pattern R2. \break \pattern
}
-- Aaron Hill
Re: Note head as a custom image chosen according to note duration
On 2022-11-21 3:36 pm, Jean Abou Samra wrote: Le 22/11/2022 à 00:31, Aaron Hill a écrit : But NoteHead has a duration-log property ready to go: The OP says "according to the duration". I didn't know if using duration-log would be OK for this case, because duration-log does not make a difference between quarters, heighth notes and shorter notes. Makes sense. I was thinking only about the note heads themselves, where quarters and smaller share the same shape. One detail that might be getting overlooked is stem-attachment. If the custom shapes differ too much from the default note heads, one would need to adjust this property as well. -- Aaron Hill
Re: Note head as a custom image chosen according to note duration
On 2022-11-21 3:13 pm, Valentin Petzel wrote:
The duration of the NoteHead is not in fact a property of the grob, but
of the music event
that leads to creation of the grob, accessible from the grob by the
"cause"-property. Thus
Jean uses
(ly:event-property (event-cause grob) 'duration)
to get the duration of the note head and then uses different markups
for different values.
But NoteHead has a duration-log property ready to go:
\version "2.22.0"
\layout {
\override Voice.NoteHead.stencil =
#(grob-transformer 'stencil
(lambda (grob orig)
(grob-interpret-markup grob #{
\markup
\with-dimensions-from \stencil $orig
\overlay {
\raise #1.25
#(number->string
(ly:grob-property grob 'duration-log))
\stencil $orig
}
#})))
}
{ 1 2 4. 8 }
-- Aaron Hill
Re: defineBarLine confusion
On 2023-01-13 6:43 pm, Flaming Hakama by Elaine wrote: Looking at your example, I think the first place you are going off is that you do not define the barlines using ##t, ##f, you instead put the characters that correspond to what you want to appear in those places. #t and #f are valid in bar line definitions, as convenient short hand. See [1]: The \defineBarLine arguments specifying replacement glyphs can be set to #t to copy the mid-line glyph or #f to create no bar line. The empty string, "", yields a zero-width bar line. [1]: https://lilypond.org/doc/v2.24/Documentation/notation/bars#index-defining-bar-line -- Aaron Hill
Re: irrational meters
On 2023-01-18 1:23 am, Paul Hodges wrote:
As for alternatives, I suppose dyadic will do; but irregular is
certainly wrong - there is no reason for an irrational tempo to be
irregular, in fact, anything that can be expressed as a time signature
is being given a regular definition.
Church hymnary already uses the term "irregular meter" to describe hymns
that have no consistent metrical structure. ("Peculiar meter" is also
used.) Though to be clear, there one is talking about the poetry and
verse as opposed to musical structures such as measures. However, as
there is a practical connection between texts and tunes, it might be
best to avoid confusion with overloaded terms that span the topics.
-- Aaron Hill
