Re: Ancient tablature: repeat barline.

[Marc Hohl]

Am 01.03.2014 14:01, schrieb Thomas Morley:

2014-03-01 11:13 GMT+01:00 Marc Hohl :

Hi Harm,

would you mind to share your solution with us? ;-)

Marc


Hi Marc,

I could verify that I've sent my reply to Pierre, Shane _and_ the list!
Though, I can't find it in any archive.
Strange!

Anyway, here again. Hope it works now.


Yup, thanks for sharing!



\version "2.18.0"

#(define (make-single-dot-bar-line grob extent)
(ly:font-get-glyph (ly:grob-default-font grob) "dots.dot"))

#(add-bar-glyph-print-procedure "0" make-single-dot-bar-line)


The bar line interface itself may still be a bit clumsy, but it's cool
to see how easy it is to create new bar line styles ;-)


Marc

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Re: Ancient tablature template

[Marc Hohl]

Am 02.03.2014 16:10, schrieb Schneidy:

Hi LilyPonders,

I'm working on an ancient tablature form.
The idea is to get an simple tool that helps people to rewrite ancient tab
together with a standard modern score.

Herewith is a first attempt including 3 outputs :
1. a worksheet including three staves, to help dispaching voices, a rhythm
and a tab to control the ancient tab output.
2. a clean ancient tab
3. a guitar score (draft) with all possible annotations and easily
transposable for a futur clean score.

Tab letters are taken from the Bravura font.
Lettrine is from an easy-to-find free font called "Arabesque Initialen".

Please be so kind to give me your opinion (good or bad) and ideas about this
template.


I am not an expert in ancient tablature, but as far as I can tell from
the examples I have seen before, this looks quite promising!

Marc


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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 05.03.2014 20:49, schrieb David Kastrup:



I am not top-posting


I want to avoid ossia staves.  They seem reasonably self-evident as
alternatives for the potentially less playable runs (probably the end is
the clincher).  But how bad are those, anyway?  The Midi sounds doable.
And I am too lazy to look for my guitar and skills.


You mean measure 26? I'd play them with hammer-ons, so some added slurs
would be nice:

a ( b c ) d ( e f ) (g a b\3 )

Otherwise it's just fine as-is.

HTH,

Marc


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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 05.03.2014 21:14, schrieb Marc Hohl:

Am 05.03.2014 20:49, schrieb David Kastrup:



I am not top-posting


I want to avoid ossia staves.  They seem reasonably self-evident as
alternatives for the potentially less playable runs (probably the end is
the clincher).  But how bad are those, anyway?  The Midi sounds doable.
And I am too lazy to look for my guitar and skills.


You mean measure 26? I'd play them with hammer-ons, so some added slurs
would be nice:

a ( b c ) d ( e f ) (g a b\3 )


Sorry, the last '(' should be placed after the g, not before it.


Otherwise it's just fine as-is.

HTH,

Marc


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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 05.03.2014 20:49, schrieb David Kastrup:



I am not top-posting


I want to avoid ossia staves.  They seem reasonably self-evident as
alternatives for the potentially less playable runs (probably the end is
the clincher).  But how bad are those, anyway?  The Midi sounds doable.
And I am too lazy to look for my guitar and skills.


Just one nitpick: the last tuplet number in measure is somewhat floating
nowhere due to the string number indication. I'd move the latter below
the staff.

Regards,

Marc








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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 05.03.2014 21:45, schrieb David Kastrup:
[...]

So the absence of more definite instructions is intentional to let the
player make the best of it.


Ah, ok, makes perfect sense to me.

Marc


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Re: Repeat Box

[Marc Hohl]

Am 06.03.2014 00:12, schrieb Simon Albrecht:

[...]
Why is this not in the LSR or even in
http://lilypond.org/doc/v2.18/Documentation/notation/graphical-notation?


AFAIK there is no way to use scheme engravers in the documentation yet,
and the frame engraver is written in scheme.

But including it into LSR would be quite helpful. Any volunteers are
highly apprechiated ;-)

Marc


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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 06.03.2014 09:58, schrieb David Kastrup:

David Kastrup  writes:

[...]


Ok, here we go.  I also decided to beam over the whole second run in
order to avoid suggesting a strongly grouped interpretation.


Just one question: why do you use Green- sleeves
instead of Green -- sleeves in the lyrics?

Marc


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Re: Repeat Box

[Marc Hohl]

Hi list,

Am 06.03.2014 14:42, schrieb David Nalesnik:

Hi Marc, all,


[...]

I'm a bit conflicted about this.  Once the LSR is upgraded, it might be
possible to upload it there, where it will be more accessible to others
and in a safe place.

On the other hand, the method it uses to incorporate the new grobs is
problematic, and might even interfere with compiling the LSR (not sure).
  You'll run into problems when you use it with a batch of files (rather
than compiling files singly): there's bleed-over between sessions, so
you get errors concerning redefinition of the added properties.


With bar lines, I had a similar issue. Would define-session and
define-session-public stop the bleed-over?


This is really the only way there is to add a new grob now from an ly
file, though.  My motivation in using this method was convenience.
  There's no need (yet) to work in a development environment, and it's
easy for others to try it out and offer suggestions without needing to
apply patches.  Once it's in a usable state, I would move the various
parts into their rightful places: the grob definitions into
define-grobs.scm, for example.  (Bleed-over problem solved.)

Honestly, I'd love for this to make it into the code base someday.


Does it make sense to create a patch for it together with a small
paragraph describing the limitations? Once the stuff is 'official',
it is easier for someone else to enhance it.

Just my 2ct,

Marc

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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 06.03.2014 18:00, schrieb David Kastrup:

David Kastrup  writes:


[...]


So I'm now down to




and that's probably long enough I should spend on this distraction.


What about

  << { r8 a' d e f\3 a\2 | 2\arpeggio } \\
 { d,2.~ | d2 } >> r4

for the final bars? The position change from the first to the tenth
fret remains the same but starts earlier and gives a nice line to
the topmost note of the final arpeggiated chord.

Ok, just a nitpick ...

Marc


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Probably again: spacing problems with lyrics

[Marc Hohl]

Hi list,

I have (again) problems understanding the spacing between lyrics and
staves below. Attaced is an example with three stanzas, and I want to
increase the distance between the lowest lyric line and the next
saff line.

IIUC, it is some nonstaff-nonrelated-staff thingy, but if I follow
the instructions in the NR, nothing changes :-(

What am I doing wrong here? The spacing system is still mysterious
to me ...

Marc
\version "2.19.3"

\header {
  title = "Test"
}


melody = \relative f {
   \repeat unfold 11 {
  c'4 c c c
   }
   c1
   \bar "|."
}

textOne = \lyricmode {
   \set stanza = "1. "
   This is some stu -- pid text to show the prob -- lems in the first line.
   This is some stu -- pid text to show the prob -- lems in the first line.
   This is some stu -- pid text to show the prob -- lems in the first line.
}

textTwo = \lyricmode {
   \set stanza = "2. "
   This is some stu -- pid text to show the prob -- lems in the se -- cond line.
   This is some stu -- pid text to show the prob -- lems in the se -- cond line.
   This is some stu -- pid text to show the prob -- lems in here.
}

textThree = \lyricmode {
   \set stanza = "3. "
   This is some stu -- pid text to show the prob -- lems in the third line.
   This is some stu -- pid text to show the prob -- lems in the third line.
   This is some stu -- pid text to show the prob -- lems in the third line.
}

\score {
   <<
 \new Staff {
  \new Voice = "mel" { \melody }
 }
 \new Lyrics \lyricsto "mel" { \textOne }
 \new Lyrics \lyricsto "mel" { \textTwo }
 \new Lyrics \with {
  %\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #10
  \override VerticalAxisGroup.nonstaff-unrelatedstaff-spacing.padding = #10
 }
 \lyricsto "mel" { \textThree }
   >>
}
   

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Re: Probably again: spacing problems with lyrics

[Marc Hohl]

Hi Trevor,

Am 08.03.2014 01:20, schrieb Trevor Daniels:


Hi Marc


I have (again) problems understanding the spacing between lyrics and
staves below. Attaced is an example with three stanzas, and I want to
increase the distance between the lowest lyric line and the next
saff line.

IIUC, it is some nonstaff-nonrelated-staff thingy, but if I follow
the instructions in the NR, nothing changes :-(

What am I doing wrong here? The spacing system is still mysterious
to me ...


You're using the spacing controls for spacing _within_ a system.
You need the ones for spacing _between_ systems.


That makes a lot of sense, suddenly ;-)

 These are

paper variables.  Try

\paper {
   system-system-spacing #'basic-distance = 50
}


Thanks a lot!

Marc


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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 08.03.2014 09:32, schrieb David Kastrup:

David Kastrup  writes:


Marc Hohl  writes:


Am 06.03.2014 18:00, schrieb David Kastrup:

David Kastrup  writes:


[...]


So I'm now down to




and that's probably long enough I should spend on this distraction.


What about

   << { r8 a' d e f\3 a\2 | 2\arpeggio } \\
 { d,2.~ | d2 } >> r4

for the final bars? The position change from the first to the tenth
fret remains the same but starts earlier and gives a nice line to
the topmost note of the final arpeggiated chord.

Ok, just a nitpick ...


Now that I was allowed to make a noise again, I checked that version.
The basic idea is good.  However, the arpeggio becomes redundant: there
is no need to strike the notes again.  If one did so, one better would
restrike the bass note as well, but I think it's better just keeping
them all on sustain without further notice.


Yep, absolutely!


Definitely an improvement.  I'll just have to cast this into code.


Not that hard.  Except that with

   << { \set tieWaitForNote = ##t
   r8 a' d e f\3~ a\2~ | 2 } \\
 { d,2.~ | d2 }
   >> r4

the string indication on the first f is not really a mere matter of
style any more.  So I probably should print it in the score.  Which is a
nuisance as I suppressed the numbers staff-wide so far.


You may insert a barré indicator for the tenth fret or a bracket for
f, a and d to indicate that these three notes have to be fretted with
the index finger.

On the other side: you use tablature as well, so the information is
there, even without explicit string numbers. And even without tablature
staff it is implicitly given through the ties – there is no other
possibility to play the piece and let the notes sustain as given in the
score.

Marc

But that's probably a similar nuisance since you did not use fingerings
nor barré indicators througout the rest of the piece.





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Re: Is this reasonable/playable (guitar)?

[Marc Hohl]

Am 08.03.2014 10:42, schrieb David Kastrup:

Marc Hohl  writes:


Am 08.03.2014 09:32, schrieb David Kastrup:


Not that hard.  Except that with

<< { \set tieWaitForNote = ##t
   r8 a' d e f\3~ a\2~ | 2 } \\
 { d,2.~ | d2 }
>> r4

the string indication on the first f is not really a mere matter of
style any more.  So I probably should print it in the score.  Which is a
nuisance as I suppressed the numbers staff-wide so far.


You may insert a barré indicator for the tenth fret or a bracket for
f, a and d to indicate that these three notes have to be fretted with
the index finger.


Pffft.  Is this for real?  What a nuisance to get this looking
half-civil...





On the other side: you use tablature as well, so the information is
there, even without explicit string numbers.


I don't think that's the way combined staves are supposed to work: the
tab is supposed to get the missing info "offline" via glancing at the
staff, but the staff is supposed to be self-contained for score
sightreaders.  We have a \tabFullNotation or similar for making a
TabStaff contain everything, but that's assumed standard for a Staff.


Probably.



And even without tablature staff it is implicitly given through the
ties – there is no other possibility to play the piece and let the
notes sustain as given in the score.


Sure, but puzzle games and backtracking are not sightreader-friendly.


I am accustomed to work through a guitar piece where some
spurious fingerings give you a faint idea where the notes are supposed
to be located on the fretboard.
This is probably due to the plate-engraved scores where every number
and every sign were quite time-consuming.

But that does not mean that I like puzzle games and backtracing while
playing music, so you're right on this one.


I've seen barring indications in some scores of mine that basically use
a half-bracket, reaching down from the X (position indicator) above the
staff and ending in a hook just below the lowest note to be barred.  So
they are more like vertical spanners than horizontal ones (horizontally,
they are dissolved by another position indicator or by becoming
obviously irrelevant).  Does not seem obvious how to crank out something
like that using LilyPond.


Yes, that's what I had in mind when I describend my "bracket" solution.
There's something on the LSR for those half-brackets but no genuine
Lilypondish solution.


Still I think I consider this position indicator better than, say, three
string indicators.  And using both seems like overkill.


Of course.

Marc



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Re: LSR on v2.18

[Marc Hohl]

Am 09.03.2014 20:41, schrieb Ralph Palmer:

On Sun, Mar 9, 2014 at 12:35 PM, Pierre Perol-Schneider
mailto:pierre.schneider.pa...@gmail.com>> wrote:

2014-03-09 17:15 GMT+01:00 Phil Holmes mailto:m...@philholmes.net>>:

Wow!  Respect.  Thanks for all your hard work.

This is not directed specifically at you - you've done an
amazing job already - but there's presumably a further task that
would be beneficial - getting rid of most of the snippets/new by
updating the LSR.


Thank you Phil !
I'd like to thank also: David Kastrup, James, Robin Bannister, Harm,
David Nalesnik, TaoCG, Rachel Thomas Carlson, Gilles Thibault,
Noeck, Janek Warchol, Eluze, Federico Bruni, Jay Anderson, Alard de
Boer, Paul Morris, Arnold Wendl, Alexander Kobel, Trevor Daniels,
Kieren MacMillan and, last but not least, Seba !

for their precious help and support.
(hope I did'nt forget anyone ;)

Cheers,
~Pierre


A huge Wow! from me, as well! What a job. Thanks to all of you.


+1 A big thanks from me to all of you, too.

Marc


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Re: Applying alternate "bar style" to whole StaffGroup

[Marc Hohl]

Am 13.03.2014 17:52, schrieb Pierre Perol-Schneider:

2014-03-13 16:41 GMT+01:00 Jacques Menu mailto:imj-muz...@bluewin.ch>>:

Hello,


Hi Jacques,

I’d like a:

\bar "[|:"

in one of the staves to apply to all staves in the group, not to
each one individually


  \set Score.startRepeatType = #"[|:"

should do the job.


I think he rather wants something like in the attached picture, but I
don't know how to realize it...

Regards,

Marc


Cheers,
Pierre


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Re: Applying alternate "bar style" to whole StaffGroup

[Marc Hohl]

Am 14.03.2014 08:57, schrieb Schneidy:

Marc Hohl wrote

I think he rather wants something like in the attached picture, but I
don't know how to realize it...

Regards,

Marc


Hi Marc,


[snip]

Well, this still shows three starting brackets instead of one big
bracket spanning all three staves as shown in the poicture, isn't it?

Marc


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Re: Applying alternate "bar style" to whole StaffGroup

[Marc Hohl]

Am 15.03.2014 11:04, schrieb Pierre Perol-Schneider:

2014-03-14 16:36 GMT+01:00 Marc Hohl mailto:m...@hohlart.de>>:

Well, this still shows three starting brackets instead of one big
bracket spanning all three staves as shown in the poicture, isn't it?


Yep, you're wrigth. I didn't check the output well enough. :(
I wonder if this could be considered as a possible bug...


Rather a feature request IMHO, but in principle, you are right, lilypond
should provide such bar line delimiters.

Regards,

Marc


Cheers,
~Pierre




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Re: minor chords

[Marc Hohl]

Am 16.03.2014 04:36, schrieb David Raleigh Arnold:

On Fri, 14 Mar 2014 17:19:28 +0100 (CET)
Martin Tarenskeen  wrote:



Hi,


[...]

Minus for minor is a horrible idea. It's also old fashioned
and abandoned even by the "Real Book".


I don't want to start a philosophical discussion about pros
and cons of a certain style, but I am used to read the minus
sign as minor – I understand the Cmi7, too, but when sketching
some chords on paper during a Jazz session, a simple "-" is
way faster to write than "mi" all the way.

So it's rather a matter of personal taste IMHO.

Just my 2 cents

Marc


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Re: Fwd: Replace dot symbol?

[Marc Hohl]

Am 17.03.2014 04:59, schrieb Paul Morris:

Simon Albrecht-2 wrote

Interesting question: the Internals Reference says the stencil for Dots
is ly:dots::print. But where is this defined? Where can I look it up?


I think at this point the next step is to try to find this callback function
in the source code itself.  Maybe a search for "ly:dots::print" on the
source files?  (I think that looks like C++ syntax with the double colons.)


It's defined in lily/dots.cc as Dots::print. It uses the dots.dot glyph 
from the feta font (or the vaticana counterpart) – but this is hardcoded

and not changeable without rewriting the complete stencil function.

HTH,

Marc


-Paul



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Replace-dot-symbol-tp160473p160492.html
Sent from the User mailing list archive at Nabble.com.

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Re: minor chords

[Marc Hohl]

Am 17.03.2014 01:45, schrieb Jim Long:

I understand the Cmi7, too, but when sketching
some chords on paper during a Jazz session, a simple "-" is
way faster to write than "mi" all the way.

So it's rather a matter of personal taste IMHO.

Just my 2 cents

Marc


With great respect, I beg to add,

Beware of "shortcuts" which are for the benefit of the writer.
IMO, engraving decisions should be made for the benefit of the
reader.


Yep, that's true. I was unclear in my answer above: the first
"Real Book" was a collection of songs written by Steve Swallow.
He used the "-" sign for the whole book AFAIK.
After his collection got copied over and over again, most
musicians got accustomed to this style. So I think it's a matter
of habit.

Speaking for myself, I'd prefer a C-7 over a Cmi7, and a C-Δ
over Cmmaj7. But I can play both ;-)

Marc


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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR

[Marc Hohl]

Am 24.03.2014 03:39, schrieb Mike Dean:

(1) how can I get a certain field to break across two (or more) lines?

example:

\version "2.18.0"

\header {
   copyright = "Copyright © 2003 by composer-name. For all countries.
All rights reserved. "
}


copyright = \markup \right-column { " Copyright by " "Composer Name" 
"For all countries" "Except for my aunt Mary."}




(2) I'd like to force more space (one or more blank lines) between the
header and the start of the score


http://lilypond.org/doc/v2.18/Documentation/notation/paper-size-and-automatic-scaling#fixed-vertical-spacing-_005cpaper-variables

search for markup-system-spacing


(3) having some trouble with polyphony.


http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices


(4) would like to figure out how to get a tempo marking of  quarter note
= c. 120 as an example.


Probably

http://lsr.di.unimi.it/LSR/Item?id=869

should give you an idea.



(5) I am looking for a  way to get the markup to left-align with the
tempo marking, but am not sure how to do it



\override Score.RehearsalMark.break-align-symbols = #'(time-signature)
\mark \markup { \bold "Chorale-like" }

r2 r4 f\pp\( |

(untested!)

HTH a bit,



Thanks! I've rediscovered LilyPond after an absence of a few years...


Welcome back!

Marc


Mike Dean


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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR

[Marc Hohl]

Am 24.03.2014 15:45, schrieb Mike Dean:

Hi Marc:
Thanks for the feedback!

Hi Mike,

please don't forget to reply to all, so that others can join the
discussion.


I have a further question lining up the two marks in question 5
having implemented your suggestion has resulted in the "Chorale-like"
markup above the "Lento lontano..." and the latter is lined up with the
time sig, with the "Chorale-like" lined up with the edge of the staff...


Why two marks? You should have \tempo and \mark instead.


I'm still trying to get a handle on the paper sizing variables... I
found the ragged-bottom = ##t option, but it didn't add a couple of
blank lines before the \score block, so I'm not doing something quite right.


Did you try changing the markup-system-spacing?


More about polyphony...the part I am transcribing starts out in unison,
but abruptly switches into a polyphonic format.
What I have is this:

\score {

\relative c' {

| \time 4/4 c2.\) f,4\( |

e d a' g | \time 2/4 f g ( | \time 4/4 < f a >2. ) \) g4\( |


In which the polyphony starts in the 2/4 measure and ends with the
dotted half note in the next measure.

What I am having a trouble grasping is how to make the temporary
polyphony work...

Looking at the temporary polyphonic construct:



<< { \voiceOne … }
   \new Voice { \voiceTwo … }

\oneVoice



So would that mean that I can do the following


<< { \voiceOne f4 g | \time 4/4 a2. }
   \new Voice { \voiceTwo f4 g | \time 4/4 f2. }

\oneVoice g4



And would the temporary polyphony have to start at the beginning of a
measure?

r2 r4 << { \voiceOne d4\f | \time 2/4 d' bf \time 4/4 f2 }
\new voice { \voiceTwo d4 | \time 2/4 g d | \time 4/4 bf2 }

\oneVoice r2

So I'm not sure where to put the hairpin diminuendo at the end of the
snippet, if it would have to go on voiceTwo...


Did you actually *compile* the examples you provide?
It probably makes sense to start the polyphony at the beginning of a
measure.

You may also have a look at the << ... \\ ... >> shortcut for small
polyphonic parts.

HTH,

Marc


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Re: "unspecified starting volume" for decrescendo

[Marc Hohl]

Am 29.03.2014 15:45, schrieb Alberto Simões:

Hi.

I have a music that starts with

 fis4.^\> d\!

But lilypond complains when generating the MIDI file:

   piano+voz.ly:28:14: warning: (De)crescendo with unspecified starting
volume in MIDI.


Some way to shut him? :-)


You may use tags to include a starting volume that appears in
the midi output only.

HTH,

Marc



Cheers
ambs

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Re: Problems with tremolo signs

[Marc Hohl]

Am 05.04.2014 13:43, schrieb Urs Liska:

It wasn't but has been added today :-)


Huh? Issue 1444 is dated Dec 10, 2010 ... or am I missing something?

Marc


Peter Toye  schrieb am 05.04.2014:

Thanks Phil,

I'd not realised it was already in the issue list.

As I'm only a casual user (a performer, not usually an arranger or
composer) I'm never sure whether to raise an issue or mention a
problem on the mailing list.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com 

-
Saturday, April 5, 2014, 11:59:53 AM, you wrote:


Whole note tremolos are not pretty.  See
http://code.google.com/p/lilypond/issues/detail?id=1444

--
Phil Holmes


- Original Message -
*From: *Peter Toye 
*To: *lilypond-user@gnu.org 
*Sent:* Saturday, April 05, 2014 11:55 AM
*Subject:* Problems with tremolo signs

I'm having problems with a tremolo sign (see snippet):

1) It's too short - surely there should be a minimum size for it and
it should be shunted to the next line?

2) It's in rather an odd place vertically: surely it should be
either between the notes if they're well-separated as here or below
both of them?

3) In printed music, tremolo signs between notes (not when attached
to stems) are usually slanted, which stops them getting mixed up
with the staff lines.

I agree that there are probably tweaks for these, but I'd hope that
the defaults wouldn't need tweaking.

Regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com 

\version "2.18.0"

\language "english"

left = \relative c' {

c1 c c c c c c c c c c c c
\repeat tremolo 16 { c 32 c,} |

}

\score {

\new PianoStaff

   \new Staff { \clef bass \left }


}

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-- Diese Nachricht wurde mit *K-@ Mail*

gesendet.


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Re: swung and straight at the same time

[Marc Hohl]

Am 10.04.2014 15:30, schrieb Mike Solomon:

Hey LilyPonders,


Hi Mike,

did you have a look at

http://code.google.com/p/lilypond/issues/detail?id=687

There were some files posted in the comments that may be of some use.

HTH,

Marc


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Re: Customizing the position of the dots in repeat bar lines

[Marc Hohl]

Am 21.04.2014 17:01, schrieb Paul Morris:

Paul Morris wrote

And another one, now with dot-positions supplied as an argument.


Submitted to the LSR, with a second example added:
http://lsr.di.unimi.it/LSR/Item?id=913


Looks nice, thanks for submitting!

Marc


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Re: Possible bug: grace note/piano staff/repeat

[Marc Hohl]

Am 22.04.2014 20:15, schrieb Knute Snortum:

I may have found a bug in LilyPond 2.18.2 but since I'm new to
typesetting I want to run it past the list first.


I think this is

http://code.google.com/p/lilypond/issues/detail?id=34

the probably oldest and most annoying bug in the pond ;-)

HTH,

Marc


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Re: Absolute size for \epsfile, i.e. independent of global-staff-size

[Marc Hohl]

Am 28.04.2014 00:08, schrieb Rutger Hofman:

Good evening list,

I want to include a title page w/ an \epsfile image in a number of files
(score, parts), where the point size for the files may differ: score has
smaller font than parts, basically. Now I want to write one include file
that makes the title page, and I want that title page to be independent
of the point size of the lilypond file. I can get that done for markups
(\abs-fontsize works fine), but I don't know how I can do it for the
image from the \epsfile: it scales with the font size.

Suggestions? If there is no direct way, then maybe a way to
programmatically query the font size and correct for that?


Hi, I used something like that in one of my projects:

#(define-markup-command (epsfile-mm layout props axis size file-name)
  (number? number? string?)
  (let* ((o-s (ly:output-def-lookup layout 'output-scale))
 (scaled-size (abs (/ size o-s
  (if (ly:get-option 'safe)
  (interpret-markup layout props "not allowed in safe")
  (eps-file->stencil axis scaled-size file-name)
  )))

It works like \epsfile but assumes the dimensions are in mm.

HTH,

Marc



Rutger Hofman
Amsterdam

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Re: A new printed work done with LilyPond

[Marc Hohl]

Am 30.04.2014 13:35, schrieb Francisco Vila:
[...]

We are fairly satisfied with the results.


Yes, it looks very nice indeed!

Marc


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Re: \bar partially broken for just me or everyone?

[Marc Hohl]

Am 01.06.2014 18:40, schrieb Tim McNamara:

Since updating to 2.18.2 and using JazzLILY I notice that when I compile scores 
with \bar “|:” or \bar “:|” the repeat signs are not printed.


These have been replaced by ".|:" and ":|.", respectively.

convert-ly does the conversion automatically, btw.

HTH,

Marc

  The opening repeat is omitted and the closing repeat is omitted and 
the end barline is also missing (if the repeat happens at the end of a 
line, anyway).  \bar “|.” works, however.


Is this something peculiar to my situation or is this happening for others, too?



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changing the appearance for single dots in fret boards

[Marc Hohl]

Hi list,

I have some fret diagrams where one dot is placed and removed according
to the underlying rhythm, so it would be great to either change its
color or put it in parentheses.

In the example below, I want to change the appearance of the dot created 
by (place-fret 4 5 3).


Is that possible somehow?

Thanks in advance,

Marc

---

lower = {
  d g\4-3 d g\4

upper = {
  d'-1 h\3-2 d' h\3 d' h\3 d' h\3
}

fretboard = {
  s1^\markup {
   \fret-diagram-verbose #'((mute 6)
(mute 5)
(place-fret 4 5 3)
(place-fret 3 4 2)
(place-fret 2 3 1)
(mute 1))
 }
}

\score {
  \new Staff {
\key g \major
\clef "G_8"
<<
  \new Voice { \fretboard }
  \new Voice { \voiceOne \upper }
  \new Voice { \voiceTwo \lower }
>>
  }
}


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Re: changing the appearance for single dots in fret boards

[Marc Hohl]

Am 06.06.2014 12:13, schrieb Knute Snortum:

I don't have an answer for you, but I do want to mention that you should
be careful to post working examples.


Oops, sorry, copy&paste error.


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Re: changing the appearance for single dots in fret boards

[Marc Hohl]

Am 07.06.2014 10:02, schrieb Pierre Perol-Schneider:

2014-06-06 9:59 GMT+02:00 Marc Hohl mailto:m...@hohlart.de>>:

I have some fret diagrams where one dot is placed and removed according
to the underlying rhythm, so it would be great to either change its
color or put it in parentheses.


Hallo Marc,
See discussion here :
http://www.lilypondforum.de/index.php?topic=1186.msg6498#msg6498


Hi Pierre,

thanks for the link! I wasn't aware of 'inverted' as an optional
forth argument to place-fret. It looks as if this feature is
not documented (it is used in 
input/regression/fret-diagrams-fingering.ly, though)


What about the feature request and a possible patch for using 
'parenthesized'? Is this still work-in-progress?


I'm cc'ing to Harm, I think he knows best about the patch status.

Thanks a lot!

Marc

HTH,
Pierre




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Re: changing the appearance for single dots in fret boards

[Marc Hohl]

Am 08.06.2014 02:49, schrieb Thomas Morley:

2014-06-07 17:33 GMT+02:00 Marc Hohl :

Am 07.06.2014 10:02, schrieb Pierre Perol-Schneider:


2014-06-06 9:59 GMT+02:00 Marc Hohl mailto:m...@hohlart.de>>:


 I have some fret diagrams where one dot is placed and removed
according
 to the underlying rhythm, so it would be great to either change its
 color or put it in parentheses.


Hallo Marc,
See discussion here :
http://www.lilypondforum.de/index.php?topic=1186.msg6498#msg6498



Hi Pierre,

thanks for the link! I wasn't aware of 'inverted' as an optional
forth argument to place-fret. It looks as if this feature is
not documented (it is used in input/regression/fret-diagrams-fingering.ly,
though)

What about the feature request and a possible patch for using
'parenthesized'? Is this still work-in-progress?

I'm cc'ing to Harm, I think he knows best about the patch status.



Hi Marc,

yes I'm working on it.
http://code.google.com/p/lilypond/issues/detail?id=3930
is meant to prepare the final patch for
http://code.google.com/p/lilypond/issues/detail?id=2752
Though, it still needs some work before it does the job properly _and_
I'll have to add documentation about it.


That's great – thanks for your work!

Regards,

Marc


Cheers,
   Harm




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Re: How to indicate a set of measures should not be played?

[Marc Hohl]

Am 19.06.2014 11:11, schrieb David Kastrup:
[...]

Maybe something like


If I compile your snippet, I get


GNU LilyPond 2.19.9
»tsp.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...[8][16][24][32][40]
Vorverarbeitung der grafischen Elemente...lilypond: 
../flower/include/drul-array.hh:35: T& Drul_array::at(Direction) 
[with T = Skyline]: Zusicherung »d == 1 || d == -1« nicht erfüllt.
/home/marc/bin/Lilypond: Zeile 1:  3437 Abgebrochen 
(Speicherabzug geschrieben) /home/marc/git/lilypond/out/bin/lilypond 
--relocate tsp.ly


That's not quite what I expected ...

Marc


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Re: How to indicate a set of measures should not be played?

[Marc Hohl]

Am 19.06.2014 11:22, schrieb Marc Hohl:

Am 19.06.2014 11:11, schrieb David Kastrup:
[...]

Maybe something like


If I compile your snippet, I get


GNU LilyPond 2.19.9
»tsp.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...[8][16][24][32][40]
Vorverarbeitung der grafischen Elemente...lilypond:
../flower/include/drul-array.hh:35: T& Drul_array::at(Direction)
[with T = Skyline]: Zusicherung »d == 1 || d == -1« nicht erfüllt.
/home/marc/bin/Lilypond: Zeile 1:  3437 Abgebrochen (Speicherabzug
geschrieben) /home/marc/git/lilypond/out/bin/lilypond --relocate tsp.ly

That's not quite what I expected ...


Addendum: if I comment out '\tweak direction #CENTER', it works 
obviously, but the zig-zag line appears on top of the staff line.




Marc


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Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Marc Hohl]

[sorry, forgot to reply to list]
Am 26.06.2014 18:22, schrieb Patrick or Cynthia Karl:

In lilypond-user Digest, Vol 139, Issue 98 Message: 6, Jay Anderson wrote:



Date: Thu, 26 Jun 2014 08:53:23 -0700
From: Jay Anderson 
To: Patrick or Cynthia Karl 
Subject: Re: Repeat volta not at beginning of piece doesn't get
initial repeat  bar line

On Thu, Jun 26, 2014 at 8:37 AM, Patrick or Cynthia Karl  wrote:

Section 1.4 of the Notation Manual says about volta repeats:

volta   The repeated music is not written out but enclosed between 
repeat bar lines. If the repeat is at the beginning 
of a piece, a repeat bar line is only printed at the end of the 
 repeat.

But the following snippet does not generate the initial repeat bar line, apparently because of the 
"||" bar line.  But the "||" bar line does not indicate the end of a piece.

I have tried several things to get the inital repeat bar line to appear without success.  
I suspect it's not very difficult.  Can anyone please tell me how to do it?  And if I'm 
correct about the problem being caused by the "||" bar line, the documentation 
should probably be changed.

\version "2.18.2"

music = \relative b' {
a1 a a a
\bar "||"

\break

\repeat volta 2 { a4 b c d }
}


You're right that the \bar "||" is overriding the repeat bar. I assume
you're wanting a double bar before the break. Use \bar ".|:-||"
instead. You can lookup valid bar strings in bar-line.scm.


Sorry, that doesn't work for me, result is the same.  I assume you're saying to replace the \bar 
"||" with \bar ".|:-||".


It should work with \bar ".|:-||" instead of \bar "||", though.


I still don't understand why the "||" bar is overriding the repeat bar, as "||" 
doesn't signify end-of-piece so the \repeat volta is not at the beginning of a piece so the initial 
repeat bar line should be printed.


Lilypond's bar lines have four values: the unbroken bar line, the parts
that are used if the bar line is at a line break, and a corresponding 
span bar line.


If you manually set \bar "||", then lilypond sets the corresponding
bar line types for the end of the line and the beginning of the
new line, which overrides the \repeat settings.

I must admit that the workaround above is in no way an ideal solution,
but it is not that simple to convince Lilypond to do the right thing
out of the box ...

HTH,

Marc


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Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Marc Hohl]

[...]

Sorry, that doesn't work for me, result is the same.  I assume you're saying to replace the \bar 
"||" with \bar ".|:-||".


Typo?

\version "2.18.2"

music = \relative b' {
   a1 a a a
   \bar ".|:-||"

   \break

   \repeat volta 2 { a4 b c d }
}

\score  {
  \new Staff { \music }
}

compiles for me and yields in a || at the end of the first and a .|: at
the beginning of the next line.


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FretBoards aligned to bar lines

[Marc Hohl]

Hi list,

in the following example, I want to align the FretBoards to the
bar lines. Now they are centered over the first beat in each measure.

TIA,

Marc

---

\version "2.19.0"

\paper {
  indent = 0
  ragged-right = ##f
}

frets = {
  < d'\3 g'\2 b'\1 >1 | < g\4 cis'\3 e'\2 > | < cis'\3 fis'\2 a'\1 > | 
< fis\4 b\3 d'\2 > |
  < b\3 e'\2 g'\1 > | < e\4 ais\3 cis'\2 > | < a\3 d'\2 fis'\1 > | < 
a\4 dis'\3 fis'\2 >

}

chordnames = \chordmode {
  e1:m7 | a:7 | d:maj7 | g:maj7 |
  cis:m7.5- | fis:7 | b:m7 | b:7 |
}

\layout {
  \context {
\FretBoards
\override FretBoard.fret-diagram-details.fret-count = #8
\override FretBoard.size = #1.5
  }
}

\score {
  <<
\new FretBoards { \frets }
\new ChordNames { \chordnames }
\new Staff \with { \omit Stem } { \improvisationOn \repeat unfold 
32 b'4 \bar ":|." }

  >>
}



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Re: FretBoards aligned to bar lines

[Marc Hohl]

Am 04.07.2014 15:54, schrieb David Nalesnik:

Hi Marc,


On Fri, Jul 4, 2014 at 2:46 AM, Marc Hohl mailto:m...@hohlart.de>> wrote:

Hi list,

in the following example, I want to align the FretBoards to the
bar lines. Now they are centered over the first beat in each measure.


You can use a simple Scheme engraver to reset the X-parents of the
FretBoard grobs.  (See attached.)  Of course, the alignment at the
beginning of the line looks weird--will see if I can come up with something.


Hey, thanks a lot – the engraver solution looks quite elegant to me but 
I would have never come up with something like this myself.


I solved the misplaced first system by

\grace s8 \bar ".|:"
< d'\3 g'\2 h'\1 >1 | < g\4 cis'\3 e'\2 > | < cis'\3 fis'\2 a'\1 > | < 
fis\4 h\3 d'\2 > |
< h\3 e'\2 g'\1 > | < e\4 ais\3 cis'\2 > | < a\3 d'\2 fis'\1 > | < a\4 
dis'\3 fis'\2 > |

\bar ":|."

Now it's ok.

Thanks a lot!

Marc


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Re: Question for all LilyPond users (especially power users)

[Marc Hohl]

Am 09.07.2014 07:43, schrieb tisimst:

Greetings, All!

I have worked out a very nice way to switch between notation fonts in
LilyPond, both on a global document level and a local usage level. Up until
now, there were only a couple of music fonts available that were really
usable on a professional level: /Emmentaler/ (the default, built-in font)
and /Gonville/. There are also /LilyJAZZ/ and /Bravura/ (a SMuFL-compliant
font), but they require some serious hacks to make them work and they have
trouble with even some basic notation elements (like tempo markings,
arpeggios, etc.).

I am pleased to announce that I have several new music fonts, both in OTF
and SVG formats, that I'd like people to be able to use, but this requires a
patch to a single file, so anyone wanting to patch the file can do it with
little effort. It makes using other fonts as easy as putting a single
"\include" statement at the top of a .ly file. I use them all the time, but
I really want to share with the community that has shared so much with me.

*My question is this: /Is anyone interested in this?/*


Of course, count me in!

Marc


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Re: Integrating a markup in a music-function

[Marc Hohl]

Am 10.07.2014 10:54, schrieb Thomas Morley-2:
[...]

OT: I'm replying via the nabble-interface, because your post didn't appear
in my mails til now. Currently it seems I miss several mails.
Some of them I notice, when they are quoted.

Others with the same experience?


Yes, some messages are delayed for several hours, or even a whole day.

Strange ...

Marc


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Re: LilyPond meeting 2014?

[Marc Hohl]

[forgot to reply-to-all]

Am 12.07.2014 14:44, schrieb Janek Warchoł:

Hi all,
[...]

Unfortunately i'm busy on that weekend :(

Is there noone else interested?


Basically, I am interested as well, but I have a concert on August 30th :-(

Marc


Janek

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Re: Barline at beginning of lines of music.

[Marc Hohl]

Am 13.07.2014 18:45, schrieb Richard Shann:

On Sat, 2014-07-12 at 13:15 +0100, Richard Shann wrote:

[...]

\version "2.18.0"
\defineBarLine "]" #'(":||" "||" "||")

{
 c2 \bar "]" c2 \bar "]"
 \break
 \bar "]"
 d
}

This I read as saying that \bar "]" should show as a double bar when
mid-line (my interpretation of the third element of the list, called
"span" in the documentation. But it is typesetting as a horned solid
barline.


No, 'span' covers the appearance of the bar line *between* staves.
The first argument (']' in your example) is used for bar lines mid-line.

I admit that the bar line interface and its documentation are far from
being perfect. The what-you-see-is-what-you-get approach seems to
confuse quite a lot of users.

There was some discussion about making the interface more user-friendly
and allow for aliases, but there is no final consensus yet IIRC.
Moreover, the problem with repeat sections, for example

c4 c c c \bar "||"
\break
\repeat volta 2 { d4 d d d }

was not covered at all yet.

Marc



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Re: Barline at beginning of lines of music.

[Marc Hohl]

Am 14.07.2014 10:55, schrieb David Kastrup:

Marc Hohl  writes:


There was some discussion about making the interface more user-friendly
and allow for aliases, but there is no final consensus yet IIRC.
Moreover, the problem with repeat sections, for example

c4 c c c \bar "||"
\break
\repeat volta 2 { d4 d d d }

was not covered at all yet.


That would imply that having a single bar type for pre-/post-/no-break
might not wholly cut it.  Instead we might need to differentiate pre-
and post-break and provide recipes/kerns to construct the no-break
variant somewhat reliably.



+1

Casting this into a usable interface seems not to be a trivial task.

Marc

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Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Marc Hohl]

Am 14.07.2014 19:00, schrieb Thomas Morley:

2014-07-14 18:47 GMT+02:00 Thomas Morley :

2014-07-14 14:03 GMT+02:00 John McWilliam :



I'd not mix \repeat volta ... and \alternative ... with manual repeat settings.


Correction, you _can_ mix them, _if_ you use correct syntax.
Though, it's a little complicated I think.
Therefore I made the following code sometime ago (and had completely
forgotten about it):


Looks nice! Do you think that \setRepeatCommand should be included in 
the sources? I'd always found the manual tweaking of the text in the 
volta brackets somewhat clumsy...


Marc


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Re: Barline at beginning of lines of music.

[Marc Hohl]

Am 15.07.2014 16:14, schrieb Richard Shann:

Well, I'm not sure I follow the distinction between defined bar-types
and not, this code

\version "2.18.0"
\defineBarLine ":" #'(":" ":" ":")
\defineBarLine "|" #'(":" ":" ":")
\score {

 \new PianoStaff <<
 \new Staff = "RH"  <<
  \new Voice  {
  c''  c'' c'' c'' c'' c''  }
 >>
 \new Staff = "LH"  <<
  \new Voice  {
   c''  c'' c'' c'' c'' c''  }
 >>
 >>
}

gives no warning but prints the double dots above instead of below the
top staff.
But perhaps that is a separate bug.


IIRC, it is not possible to use the repeat colons as span bars, they are 
placed above the first system and not repeated even if you use more than 
two staves (and therefore more than one instance of a span bar).


Do you have a real-world example where this would be of some use?


In any case, I seem to have a workable method for creating the bar types
needed for chord charts. Attached is an example of the sort of output.
The code to generate this is now in Denemo's git and will be in the
1.1.8 release.


Looks good!

Marc


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Re: Barline at beginning of lines of music.

[Marc Hohl]

Am 16.07.2014 11:15, schrieb Richard Shann:

On Wed, 2014-07-16 at 08:38 +0200, Marc Hohl wrote:

Am 15.07.2014 16:14, schrieb Richard Shann:

Well, I'm not sure I follow the distinction between defined bar-types
and not, this code

\version "2.18.0"
\defineBarLine ":" #'(":" ":" ":")
\defineBarLine "|" #'(":" ":" ":")
\score {

  \new PianoStaff <<
  \new Staff = "RH"  <<
   \new Voice  {
   c''  c'' c'' c'' c'' c''  }
  >>
  \new Staff = "LH"  <<
   \new Voice  {
c''  c'' c'' c'' c'' c''  }
  >>
  >>
}

gives no warning but prints the double dots above instead of below the
top staff.
But perhaps that is a separate bug.


IIRC, it is not possible to use the repeat colons as span bars, they are
placed above the first system and not repeated even if you use more than
two staves (and therefore more than one instance of a span bar).


well, we are back to the question of what should the docs say, "IIRC"
here refers to ...?


'IIRC' refers to me having rewritten the bar line interface with *a lot 
of* code and good ideas from Thomas Morley, but barely having touched 
the code base since then. I'm not fully into the details yet and it's 
sometimes hard to remember what we have done two years ago ;-)




Do you have a real-world example where this would be of some use?



Not at all - the bug would just be that there is no warning, and strange
output (I take it there is no real-world use for the repeat dots
hovering in the air above the top staff?).


I think so.

Marc

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Re: Adding right side to volta bracket spanner

[Marc Hohl]

Am 17.07.2014 22:57, schrieb Thomas Morley:
[...]

Though,
'allow-volta-hook' isn't mentioned in the docs, afaik.
Additionally, I think one should make it a context-property, with the
possibility to set _and_ unset or to use \once.


Now yer talking! That's a brilliant idea!


I'll file a bugreport for a documentation and enhancement, if I don't forget.


+1

Marc


Cheers,
   Harm

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Re: See the new music fonts in action

[Marc Hohl]

Am 26.07.2014 um 01:23 schrieb tisimst:

Oh and here's a single sheet showcasing some other elements of each font for
closer comparison:

Sampler of all current music fonts 


This is awesome! Great work!

Marc


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Re: Need multiple \mark entries over the same barline

[Marc Hohl]

Am 30.07.2014 um 01:49 schrieb James Harkins:

In some places, I have a \markup-style mark over the same barline, and
at the same barline, I also want a rehearsal mark (produced by \mark
\default). Unfortunately it seems only one \mark is allowed at any given
moment.

This is a type of markup-style marking I mean:

  \mark \markup { \fontsize #-2 { \note #"4." #1 "=" \note #"2" #1 } }

... where you wouldn't want the score to print the duration equivalence
over every staff, just at the top. And of course rehearsal marks
shouldn't go over every staff either.

Is there any workaround?


There's one snippet

http://lsr.di.unimi.it/LSR/Snippet?id=202

that may be adjusted to your needs.

HTH,

Marc


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Re: \layout { \omit Voice.StringNumber } ?

[Marc Hohl]

Am 24.08.2014 um 22:17 schrieb BB:

In lots of example code I found the line

\layout { \omit Voice.StringNumber }

If I omit it (i. e. make he line a comment or delete it) there happens -
nothing!


Do you actually have any string numbers in your music?
A tiny working bit of code would make it easier for the list to help you 
there ...


I use \omit StringNumber in cases where I have normal and tablature 
staves in combination, because the tablature shows on which string a 
note is played, so a StringNmber indication is redundant and clutters 
the output.


HTH a bit,

Marc


That makes me curious. To my regret I cannot find any explanation in the
documentation.

Please, can anyone solve that miracle?

Regards


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Fwd: Re: \layout { \omit Voice.StringNumber } ?

[Marc Hohl]

Forwarding to -user ...


 Weitergeleitete Nachricht 
Betreff:Re: \layout { \omit Voice.StringNumber } ?
Datum:  Mon, 25 Aug 2014 18:22:28 +0200
Von:BB 
An: m...@hohlart.de



You posted the answer to the list only, not to me, so I can answer only
personally to you. (Or say I do not know how to answer to the thread in
teh list.)


Thank you for clarifying my question!

I understand now how

\layout { \omit Voice.StringNumber }

is helpful.

I think it would make sense to add this in the manual in the Chapter
about "Seitennummerbezeichnung"
(http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fretted-strings)
in the english version "String number indications"
(http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fretted-strings.html) 




A simple Example I made clear the function of
\layout { \omit Voice.StringNumber }
to myself:

\version "2.18.0"

#(set-global-staff-size 28)


%\layout { \omit Voice.StringNumber }


\relative c' {

c4\5 e\4 g2\3

1

}



Thanks again and regards



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Re: Horizontal bar below staff

[Marc Hohl]

Am 13.09.2014 um 22:14 schrieb Jakob Schöttl:

Hello,

for a tabulature for diatonic harmonica I need a strong horizontal bar
or line below the notes.  This is for indicating bellow "push/blow" (in
contrast to "pull/draw").  Please see the attached image for how it
should look.

The bar should can

  - span multiple notes and even measures
  - but also only mark a single note.


I think that should be possible with text spanners,

\score {
  <<
\new Staff  {
  \new Voice {
 \override TextSpanner.style = #'line
 \override TextSpanner.thickness = #3
 \textSpannerDown
 g\startTextSpan e f g\stopTextSpan e f

   }
}
  >>
}

You'll have to fiddle with the right edge of the spanner, and IIUC, you 
cannot start and stop a TextSpanner on the same note ...


HTH a bit,

Marc


If possible, the bar should be bound to notes.  I'm using Python with
Abjad and I cannot arbitrarily insert LilyPond/Scheme commands.  But I
can add commands to notes like { \xNote c' } or { c'\harmonic }.

Thanks!

-- Jakob



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Re: Horizontal bar below staff

[Marc Hohl]

Am 14.09.2014 um 19:53 schrieb Jakob Schöttl:

That's almost perfect, thank you both.

But there is still the edge case, when I need the same kind of line
below only one single note, e. g. in a partial measure!

Any ideas?  Or a hack with something like a zero-length skip "s" note
for the span...


I tried to insert <> like this:

g g\startTextSpan <>\stopTextSpan

and this yields in a line below the second g and a warning ...

Marc


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Re: misplaced composer field

[Marc Hohl]

Am 22.09.2014 um 10:30 schrieb Martin Tarenskeen:


Hi,

Using Lilypond 2.19.14 I see the "composer" field is completely
misplaced in the output.


See

http://lists.gnu.org/archive/html/bug-lilypond/2014-09/msg00047.html

and the fix in

https://code.google.com/p/lilypond/issues/detail?id=4102

which will be included in 2.19.15.

Marc


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Re: lilypond-book: warning: cannot detect textwidth from LaTeX

[Marc Hohl]

Am 24.09.2014 um 17:52 schrieb Xirux Nefer:

I am using lilypond-book to compile solfeo.lytex:

---

\documentclass[12pt,a4paper]{book}
\usepackage[textwidth=12cm,textheight=20cm]{geometry}
\usepackage{lipsum}
\usepackage{fontspec}
\usepackage{Alegreya}
\begin{document}
\lipsum[1]
\lilypondfile[indent=1\cm,fontload,ragged-right]{scores/Lesson_1.01.xml.ly}
\lipsum[2-4]
\end{document}

---


Using:

---

lilypond-book --output=out --latex-program=xelatex --left-padding=0
--process='lilypond --define-default=line-width=12\cm' solfeo.lytex

---


And I  am getting the error in the subject of this message. The output of
the compilation is:


[...]

Have you tried to comment out the line \lilypondfile... and compile the
document directly with xelatex? It looks as if xelatex has some 
problems, not lilypond ...




lilypond-book: warning: cannot detect textwidth from LaTeX
Dissecting...
Writing snippets...
lilypond-book: warning: ignoring unknown ly option: fontload


Ok, lilypond-book claims that the option 'fontload' does not exist.

But everything else looks like a xelatx-specific problem to me.

HTH,

Marc


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Re: lilypond-book: warning: cannot detect textwidth from LaTeX

[Marc Hohl]

Am 25.09.2014 um 20:51 schrieb Julien Rioux:

On 24/09/2014 11:52 AM, Xirux Nefer wrote:

I am using lilypond-book to compile solfeo.lytex:


[...]



[...]

Thanks for your report. This seems to me like the same issue as
https://code.google.com/p/lilypond/issues/detail?id=2471


Ah, ok. I wasn't aware of any xelatex-specific bugs to lilypond-book.

I am currently working on a new project with xelatex/lilypond-book on
ubuntu 14.04 and did not encounter any problems so far.

Marc


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Re: Transpose a lilypond file

[Marc Hohl]

Am 05.10.2014 um 10:03 schrieb Jay Vara:

I have a song.ly file which prints a song. Is it possible for someone to
print the song with a transposition, say c to d, without editing the .ly
file? Something like:

\transpose c d {\include song.ly}


I had a similar problem some time ago.

I included the following lines in song.ly

#(define transposeTo
   (if (defined? 'transposeTo)
   transposeTo
   #{ c #}))

melody = { ... }
chords = {... }

\score {
   \transpose c $transposeTo
   <<
 ...chords ...
 ...melody ...
   >>
}

Then you simply make a new file song-in-d.ly:

#(define transposeTo #{ d #})
\include "song.ly"



HTH,

Marc













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Re: The silent s

[Marc Hohl]

Am 05.10.2014 um 10:10 schrieb Jay Vara:

I have the letter s as a defined pitch

abc = #`( (s . ,(ly:make-pitch -1 0 NATURAL) )

which I set as a note name.

How do I set a different letter to the silent note s? Also for the rest r?


A quick search in the sources shows that at least 's' seems to be 
hardcoded in lily/parser.yy, so there is no easy way to define another 
letter instead of 's'.


Marc




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Cadence font and lilypond-book

[Marc Hohl]

Hi list,

I wanted to give the new alternative font "Cadence" a try in my current 
project, which is based on lilypond-book and xelatex.


Unfortunately, I got dozens of lines like
Layout nach »./de/lily-510b5f50.eps« ausgeben...
Warnung: "cadence-18"="cadence-18" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden

and therefore, the note head glyphs are missing in the resulting document.

Compiling a standalone lilypond document like the following:

\version "2.19.16"

\paper {
  #(define fonts
(set-global-fonts
#:music "cadence"
  ))
}

\score {
  \new Staff { c'' d'' e'' }
}

runs without error (and includes the note heads in the output).

Do I have to move the .otf font files in a directory where ghostscript 
can find them?


TIA,

Marc

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Re: HOw to modify guitar tablature ...

[Marc Hohl]

Am 23.10.2014 um 09:30 schrieb Patrick Millier:

Hi everyone,

I'm learning to use Lilypond by transcribing a score I have. I would like to
modify the tablature  (see seventh bar) to replace the second string first fret
to third string fifth fret (which are the same note but would be more logical
to use. I include my .ly file (a simple one).


If you explicitly give the string where you want to play the note,
lilypond calculates the correct fret number automatically.

e' gives

-0-
---
---
---
---
---

whereas e'\2 yields in

---
-5-
---
---
---
---

Furthermore, you can \set minimumFret to a positive number, which forces 
lilypond to use frets upto this number.


There is also the possibility to use \set defaultStrings = #'(5 3)
to take only string number 5 and 3 into account in the fret number 
calculations.


HTH a bit,

Marc


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Re: Cadence font and lilypond-book

[Marc Hohl]

Am 23.10.2014 um 16:43 schrieb Abraham Lee:

Marc,

I've never done anything with lilypondbook, so I can't say definitively, but it 
sounds like the fonts need to be put in your system font directory.


Abraham,

this is what I had in mind, too, and copied the .otf files in my 
~/.fonts directory and called fc-cache afterwards.


$ fc-list | grep adence
/home/marc/.fonts/cadence-16.otf: cadence\-16:style=16
/home/marc/.fonts/cadence-26.otf: cadence\-26:style=26
/home/marc/.fonts/cadence-14.otf: cadence\-14:style=14
/home/marc/.fonts/cadence-13.otf: cadence\-13:style=13
/home/marc/.fonts/cadence-23.otf: cadence\-23:style=23
/home/marc/.fonts/cadence-11.otf: cadence\-11:style=11
/home/marc/.fonts/cadence-18.otf: cadence\-18:style=18
/home/marc/.fonts/cadence-20.otf: cadence\-20:style=20

Cadence seems to be known by my system, but not by ghostscript in 
combination with lilypond-book.


That's not a big problem, since Cadence is not optimal in combination 
with the text fonts used in my project, but it would be great if the new 
fonts were available within lilypond-book, too.


Marc

 Only LilyPond uses it's own fonts folder, so if you are using another 
program for this, it will be looking for them in the system font folder.


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 3:29 AM, Marc Hohl  wrote:

Hi list,

I wanted to give the new alternative font "Cadence" a try in my current 
project, which is based on lilypond-book and xelatex.

Unfortunately, I got dozens of lines like
Layout nach »./de/lily-510b5f50.eps« ausgeben...
Warnung: "cadence-18"="cadence-18" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden

and therefore, the note head glyphs are missing in the resulting document.

Compiling a standalone lilypond document like the following:

\version "2.19.16"

\paper {
  #(define fonts
(set-global-fonts
#:music "cadence"
  ))
}

\score {
  \new Staff { c'' d'' e'' }
}

runs without error (and includes the note heads in the output).

Do I have to move the .otf font files in a directory where ghostscript can find 
them?

TIA,

Marc

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Re: HOw to modify guitar tablature ...

[Marc Hohl]

Am 23.10.2014 um 09:30 schrieb Patrick Millier:

Hi everyone,

I'm learning to use Lilypond by transcribing a score I have. I would like to
modify the tablature  (see seventh bar) to replace the second string first fret
to third string fifth fret (which are the same note but would be more logical
to use. I include my .ly file (a simple one).

Thank you very much to help



Just one more nitpick:

I'd recommend to use \clef "treble_8" in your score, otherwise your 
tablature will be an octave off...(at least if you use the standard tuning).


Regards,

Marc

Pat



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Re: Cadence font and lilypond-book

[Marc Hohl]

Am 23.10.2014 um 20:55 schrieb Abraham Lee:

Try putting them in "/home/marc/.local/share/fonts" instead. I've noticed that 
things seem to work a little better in there.


No, doesn't work either ... :-(

Marc


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 12:31 PM, Marc Hohl  wrote:


Am 23.10.2014 um 16:43 schrieb Abraham Lee:
Marc,

I've never done anything with lilypondbook, so I can't say definitively, but it 
sounds like the fonts need to be put in your system font directory.


Abraham,

this is what I had in mind, too, and copied the .otf files in my ~/.fonts 
directory and called fc-cache afterwards.

$ fc-list | grep adence
/home/marc/.fonts/cadence-16.otf: cadence\-16:style=16
/home/marc/.fonts/cadence-26.otf: cadence\-26:style=26
/home/marc/.fonts/cadence-14.otf: cadence\-14:style=14
/home/marc/.fonts/cadence-13.otf: cadence\-13:style=13
/home/marc/.fonts/cadence-23.otf: cadence\-23:style=23
/home/marc/.fonts/cadence-11.otf: cadence\-11:style=11
/home/marc/.fonts/cadence-18.otf: cadence\-18:style=18
/home/marc/.fonts/cadence-20.otf: cadence\-20:style=20

Cadence seems to be known by my system, but not by ghostscript in combination 
with lilypond-book.

That's not a big problem, since Cadence is not optimal in combination with the 
text fonts used in my project, but it would be great if the new fonts were 
available within lilypond-book, too.

Marc

Only LilyPond uses it's own fonts folder, so if you are using another program 
for this, it will be looking for them in the system font folder.


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 3:29 AM, Marc Hohl  wrote:

Hi list,

I wanted to give the new alternative font "Cadence" a try in my current 
project, which is based on lilypond-book and xelatex.

Unfortunately, I got dozens of lines like
Layout nach »./de/lily-510b5f50.eps« ausgeben...
Warnung: "cadence-18"="cadence-18" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden

and therefore, the note head glyphs are missing in the resulting document.

Compiling a standalone lilypond document like the following:

\version "2.19.16"

\paper {
  #(define fonts
(set-global-fonts
#:music "cadence"
  ))
}

\score {
  \new Staff { c'' d'' e'' }
}

runs without error (and includes the note heads in the output).

Do I have to move the .otf font files in a directory where ghostscript can find 
them?

TIA,

Marc

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Re: Cadence font and lilypond-book

[Marc Hohl]

Am 24.10.2014 um 09:59 schrieb Urs Liska:


Am 24.10.2014 08:35, schrieb Marc Hohl:

Am 23.10.2014 um 20:55 schrieb Abraham Lee:

Try putting them in "/home/marc/.local/share/fonts" instead. I've
noticed that things seem to work a little better in there.


No, doesn't work either ... :-(



What I'm asking myself is *which* part is actually causing the error.
Maybe you could look into lilypond-book-preamble.ly and try to follow
what is happening there. Maybe this gives a clue to some hidden setting
that may be done differently when compiling in this context?


Ok.

I thought that
#(ly:set-option 'backend 'eps)

may be the culprit, but apparently, it isn't.

I included even the whole content of lilypond-book-preamble.ly in my 
sample file and it works without errors.


Marc



Urs


Marc


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 12:31 PM, Marc Hohl  wrote:


Am 23.10.2014 um 16:43 schrieb Abraham Lee:
Marc,

I've never done anything with lilypondbook, so I can't say
definitively, but it sounds like the fonts need to be put in your
system font directory.


Abraham,

this is what I had in mind, too, and copied the .otf files in my
~/.fonts directory and called fc-cache afterwards.

$ fc-list | grep adence
/home/marc/.fonts/cadence-16.otf: cadence\-16:style=16
/home/marc/.fonts/cadence-26.otf: cadence\-26:style=26
/home/marc/.fonts/cadence-14.otf: cadence\-14:style=14
/home/marc/.fonts/cadence-13.otf: cadence\-13:style=13
/home/marc/.fonts/cadence-23.otf: cadence\-23:style=23
/home/marc/.fonts/cadence-11.otf: cadence\-11:style=11
/home/marc/.fonts/cadence-18.otf: cadence\-18:style=18
/home/marc/.fonts/cadence-20.otf: cadence\-20:style=20

Cadence seems to be known by my system, but not by ghostscript in
combination with lilypond-book.

That's not a big problem, since Cadence is not optimal in
combination with the text fonts used in my project, but it would be
great if the new fonts were available within lilypond-book, too.

Marc

Only LilyPond uses it's own fonts folder, so if you are using
another program for this, it will be looking for them in the system
font folder.


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 3:29 AM, Marc Hohl  wrote:

Hi list,

I wanted to give the new alternative font "Cadence" a try in my
current project, which is based on lilypond-book and xelatex.

Unfortunately, I got dozens of lines like
Layout nach »./de/lily-510b5f50.eps« ausgeben...
Warnung: "cadence-18"="cadence-18" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden

and therefore, the note head glyphs are missing in the resulting
document.

Compiling a standalone lilypond document like the following:

\version "2.19.16"

\paper {
  #(define fonts
(set-global-fonts
#:music "cadence"
  ))
}

\score {
  \new Staff { c'' d'' e'' }
}

runs without error (and includes the note heads in the output).

Do I have to move the .otf font files in a directory where
ghostscript can find them?

TIA,

Marc

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Re: Cadence font and lilypond-book

[Marc Hohl]

Am 24.10.2014 um 09:59 schrieb Urs Liska:


Am 24.10.2014 08:35, schrieb Marc Hohl:

Am 23.10.2014 um 20:55 schrieb Abraham Lee:

Try putting them in "/home/marc/.local/share/fonts" instead. I've
noticed that things seem to work a little better in there.


No, doesn't work either ... :-(



What I'm asking myself is *which* part is actually causing the error.
Maybe you could look into lilypond-book-preamble.ly and try to follow
what is happening there. Maybe this gives a clue to some hidden setting
that may be done differently when compiling in this context?


Just an idea: I always use the bleeding-edge self-compiled version of 
lilypond and found in my makefile the call to lilypond-book with an 
explicit path:


/home/marc/git/lilypond/out/bin/lilypond-book --output=out --pdf 
--latex-program=xelatex $SOURCEFILE


Perhaps that's the culprit?

Marc



Urs


Marc


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 12:31 PM, Marc Hohl  wrote:


Am 23.10.2014 um 16:43 schrieb Abraham Lee:
Marc,

I've never done anything with lilypondbook, so I can't say
definitively, but it sounds like the fonts need to be put in your
system font directory.


Abraham,

this is what I had in mind, too, and copied the .otf files in my
~/.fonts directory and called fc-cache afterwards.

$ fc-list | grep adence
/home/marc/.fonts/cadence-16.otf: cadence\-16:style=16
/home/marc/.fonts/cadence-26.otf: cadence\-26:style=26
/home/marc/.fonts/cadence-14.otf: cadence\-14:style=14
/home/marc/.fonts/cadence-13.otf: cadence\-13:style=13
/home/marc/.fonts/cadence-23.otf: cadence\-23:style=23
/home/marc/.fonts/cadence-11.otf: cadence\-11:style=11
/home/marc/.fonts/cadence-18.otf: cadence\-18:style=18
/home/marc/.fonts/cadence-20.otf: cadence\-20:style=20

Cadence seems to be known by my system, but not by ghostscript in
combination with lilypond-book.

That's not a big problem, since Cadence is not optimal in
combination with the text fonts used in my project, but it would be
great if the new fonts were available within lilypond-book, too.

Marc

Only LilyPond uses it's own fonts folder, so if you are using
another program for this, it will be looking for them in the system
font folder.


-Abraham

Sent from my iPhone


On Oct 23, 2014, at 3:29 AM, Marc Hohl  wrote:

Hi list,

I wanted to give the new alternative font "Cadence" a try in my
current project, which is based on lilypond-book and xelatex.

Unfortunately, I got dozens of lines like
Layout nach »./de/lily-510b5f50.eps« ausgeben...
Warnung: "cadence-18"="cadence-18" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden
Warnung: "cadence-20"="cadence-20" kann nicht eingebettet werden

and therefore, the note head glyphs are missing in the resulting
document.

Compiling a standalone lilypond document like the following:

\version "2.19.16"

\paper {
  #(define fonts
(set-global-fonts
#:music "cadence"
  ))
}

\score {
  \new Staff { c'' d'' e'' }
}

runs without error (and includes the note heads in the output).

Do I have to move the .otf font files in a directory where
ghostscript can find them?

TIA,

Marc

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Re: repetition brackets snippet

[Marc Hohl]

Am 27.10.2014 um 17:34 schrieb Gilberto Agostinho:

Updated version:  repeatBracket.pdf



Looks nice, but just one nitpick: I'd prefer a '×' instead of a 'x'.
Otherwise great stuff!

Marc


As advised by David Nalesnik, I removed one unused function and some
irrelevant comments. So this is identical to the previous upload, but with a
neater code.

Best,
Gilberto



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Re: repetition brackets snippet

[Marc Hohl]

Am 27.10.2014 um 18:42 schrieb Gilberto Agostinho:

Hi Marc,


Marc Hohl wrote

Looks nice, but just one nitpick: I'd prefer a '×' instead of a 'x'.
Otherwise great stuff!


You are completely right, using × improves the overall look substantially!
Have a look:

<http://lilypond.1069038.n5.nabble.com/file/n167994/12.png>


Yeah, much better! Thanks for updating so quickly!

All the best,

Marc


Updated:  repeatBracket.ly
<http://lilypond.1069038.n5.nabble.com/file/n167994/repeatBracket.ly>

Thanks for the suggestion, I will update the version in the LSR as well.

Take care,
Gilberto



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Re: A pause in 3/4 measure

[Marc Hohl]

Am 31.10.2014 um 11:42 schrieb Dr. Bernhard Kleine:

I am very astonished that  a full pause in a 3/4 measure is four
quarters long. How to note then a full pause?


No, it isn't, but the glyph is the same for a full rest in 4/4 as well 
as 3/4 if you write R1 and R2. respectively.


A 4/4 rest doesn't fit in a 3/4 measure ;-)

Marc


Bernhard



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Re: Colors in alists

[Marc Hohl]

Am 04.11.2014 um 11:48 schrieb Urs Liska:

I want to store colors in an alist like

#(define types
'(("one" . "red")
("two" . "blue")))

I can retrieve and display the values with assoc-ref but I don't know
how to turn the returned string into a color to be used in an override.


Untested: maybe you store the color as a symbol, or use string->symbol?

Marc


Any help appreciated.
Urd


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Re: Alternate chord: maj7 doesn't show up

[Marc Hohl]

Am 09.11.2014 um 15:20 schrieb Simon Herter:

I have to admit that I'm not a music expert. I probably misunderstood
the "/" symbol.


I assume you want to have two chords to choose from at the same time.


I guess that's it. In the original sheet music the first chord is
preceded by a small "1." and the second by a "2.". The line is repeated,
so I think the second chord should be played when repeating.


I ended up with inserting another "\chords" line. Putting a small "1"
and "2" before the chords might be a good idea. Do you know how to do that?


http://lists.gnu.org/archive/html/lilypond-user/2012-10/msg00237.html

may be of some use here

#(define (mark-one-ignatzek-chord-names in-pitches bass inversion  context)
 (markup #:line ("1. " (ignatzek-chord-names in-pitches bass 
inversion context


#(define (mark-two-ignatzek-chord-names in-pitches bass inversion  context)
 (markup #:line ("2. " (ignatzek-chord-names in-pitches bass 
inversion context


NumOne = { \set chordNameFunction = #mark-one-ignatzek-chord-names }
NumTwo = { \set chordNameFunction = #mark-two-ignatzek-chord-names }
NoNum = { \unset chordNameFunction }

and then

\NumOne c:7 \NoNum

or

\NumTwo a:7 \noNum

(This is untested, I copied the definitions from a local file and 
changed the definitions).


HTH,

Marc



Greetings,
Simon

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Re: absolute font size issues

[Marc Hohl]

Am 12.11.2014 um 07:42 schrieb Werner LEMBERG:
[...]


Given that responses on this list are often within minutes, and these
my questions stayed unanswered I guess that no-one has thought about
this, which actually surprises me.



Well, I was about to answer, but somehow ...

I defined some \abs-... markup commands myself and wondered if it would 
be feasible to implement a "switch" – something like \absoluteSizeOn
or similar, to avoid the need of defining everything twice –  with 
relative sizes and absolute sizes, respectively.


IIRC, this idea was discussed a long time ago, but the dicussion never 
reached the "critical mass" ;-)


Marc



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Re: absolute font size issues

[Marc Hohl]

Am 12.11.2014 um 13:35 schrieb Werner LEMBERG:



Well, I was about to answer, but somehow ...


:-)


I defined some \abs-... markup commands myself


Ha!  Where are they?  I guess this would have saved me many hours of
wading through obscure LilyPond Scheme code...


D'oh. A closer look into the sources of my old project dates 2011, and I 
did not use \abs-... but \...-mm instead and gave all dimensions in 
millimetres.


Anyway, here are the definitions, in case they might be useful for somebody:

#(define-markup-command (hspace-mm layout props amount) (number?)
 (let ((o-s (ly:output-def-lookup layout 'output-scale)))
   (ly:make-stencil "" (cons 0 (abs (/ amount o-s))) '(0 . 0) )))

#(define-markup-command (vspace-mm layout props amount) (number?)
 (let ((o-s (ly:output-def-lookup layout 'output-scale)))
   (ly:make-stencil "" '(0 . 0) (cons 0 (abs (/ amount o-s))

#(define-markup-command (epsfile-mm layout props axis size file-name)
  (number? number? string?)
  (let* ((o-s (ly:output-def-lookup layout 'output-scale))
 (scaled-size (abs (/ size o-s
  (if (ly:get-option 'safe)
  (interpret-markup layout props "not allowed in safe")
  (eps-file->stencil axis scaled-size file-name)
  )))




and wondered if it would be feasible to implement a "switch" –
something like

   \absoluteSizeOn

or similar, to avoid the need of defining everything twice – with
relative sizes and absolute sizes, respectively.


Having an `\abs-' prefix is easy to remember.  I would favor this more
than `\absoluteSizeOn', but I fully agree that defining everything
twice is error-prone.  What about adding a `meta macro' (or special
form, or whatever) that generates absolute and non-absolute versions?
I imagine something like

   (make-relative-absolute
 (define-markup-command (foo ...)
...))

to create \foo and \abs-foo.  No idea whether this is possible at all,
however.  In case it *is* possible, we should probably continue the
discussion on lilypond-devel.


I like the idea of this 'meta macro' but I don't have a clue whether 
this is possible or not (I assume yes, but I won't be able to program it 
myself).


Marc



 Werner




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Re: absolute font size issues

[Marc Hohl]

Am 12.11.2014 um 20:09 schrieb Marc Hohl:

Am 12.11.2014 um 13:35 schrieb Werner LEMBERG:



Well, I was about to answer, but somehow ...


:-)


I defined some \abs-... markup commands myself


Ha!  Where are they?  I guess this would have saved me many hours of
wading through obscure LilyPond Scheme code...


D'oh. A closer look into the sources of my old project dates 2011, and I
did not use \abs-... but \...-mm instead and gave all dimensions in
millimetres.

Anyway, here are the definitions, in case they might be useful for
somebody:

[..]

I forgot

#(define-markup-command (with-dimensions-mm layout props x y arg)
  (number-pair? number-pair? markup?)
  (let* ((m (interpret-markup layout props arg))
 (o-s (ly:output-def-lookup layout 'output-scale))
 (x1 (/ (car x) o-s))
 (x2 (/ (cdr x) o-s))
 (y1 (/ (car y) o-s))
 (y2 (/ (cdr y) o-s))
 (scaled-x (cons x1 x2))
 (scaled-y (cons y1 y2)))
(ly:make-stencil (ly:stencil-expr m) scaled-x scaled-y)))

Marc




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Re: Why does removing Bar_engraver also removes clef?

[Marc Hohl]

Am 13.11.2014 um 23:29 schrieb Gez:

I know this has been written about on the list before but the
documentation has changed since then (I've checked pretty thoroughly).

I'm looking for a way to write a load of short free-form pieces with
automatic line breaks (so candenzaOn is not useful since it requires
manual breaks).  I'd like to inhibit the Bar_engraver in all the pieces
in one book/ly file, rather than write an override in each melody.  So
far the workaround I've found uses a variable with override that I do
have to insert in each score, but at least I can use the variable for
other purposes as well.

My minimal examples here show various scenarios I tried.   If someone
can confirm that it's all working as it's supposed to, then that's good
to know, but I'd be really grateful if someone can also point me to
where the documentation explains why removing the the Bar_engraver also
removes the Clefs.


I don't think that this is documented in the docs, but in the sources:

In lily/clef-engraver.cc:

85  /**
86 Generate a clef at the start of a measure. (when you see a Bar,
87 ie. a breakpoint)
88  */
89  void
90  Clef_engraver::acknowledge_bar_line (Grob_info info)
91  {
92Item *item = info.item ();
93if (item && scm_is_string (get_property ("clefGlyph")))
94  create_clef ();
95  }

If there is not bar line to be acknowledged, the clef will not be printed.

I don't know whether this is the desired behaviour as there are cases
where you need the clef and line breaks, but no bar lines.

HTH a bit,

Marc





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Re: Quick Repeats

[Marc Hohl]

Am 18.11.2014 um 17:58 schrieb Marcos Press:

Hi List,

Iḿ looking for a way of making quick repeats of small fragments (not
tremolos) without having to input the whole \repeat function.
I don't know if theres already a threat with these topic.

for example:

a4 r a r a r a r

with the function '\repeat' would be

\repeat unfold 4 {a4 r}

in the end I write the same or more characters than repeating the secuence.

But if it could be done just by...

{a4 r}*4

Wouldn't be great?


I remember a discussion about this long time ago. A possible workaround 
is described in


http://lists.gnu.org/archive/html/lilypond-devel/2009-11/msg00362.html

HTH,

marc


Thanks.
Marcos



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Re: TabStaff feature requests

[Marc Hohl]

Am 23.11.2010 08:37, schrieb Steve Yegge:

Hi all,

Hi Steve,


The TabStaff is amazingly cool.  I'm not a big tab user myself,
but for people who want tabs, LilyPond makes it easy to add them.

I've been busily adding tabs for a few months and have some feature
requests to put into the queue if possible.

1) Setting fixed strings to use for ascending/descending chords.
Currently it's nontrivial to specify tab positions for something like:

   
   

[...]

Hm, I don't know how you would invoke such a feature - perhaps like
(pseudo-syntax!)
\useStrings #'(3 5)
to tell lilypond only to use these strings within the fret number 
calculation?

Sounds interesting, but I don't know how to implement it.


2) Have the automatic tab calculator understand the -0 fingering.
Currently if you do something like this:

+1


3) Being able to specify the frets for harmonics.  I know there's been
some talk about this, but it's a pretty big deal as there's no workaround.
Anyone planning on publishing in the next few months (e.g., me :)
is going to be out of luck.

I wrote such a extension, which is still in some beta state, so it would 
be great if you
give it a try and tell me whether it works well in real-life situations. 
You can get it here:


http://lilypond-s-support-for-tablatures.3383434.n2.nabble.com/harmonics-in-tablature-tp5518526p5578089.html

By the way, there is a mailing list especially for tablature concerns:

http://lists.lilynet.net/tablatures

Regards,

Marc



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Re: TabStaff feature requests

[Marc Hohl]

Am 24.11.2010 06:25, schrieb Steve Yegge:

[...]

\include "english.ly "
music = \relative c {
1
}

\score {
<<
\new Staff {
  \music
}
\new TabStaff {
  \transpose c c, { \music }
}
>>
}
Just for clarification: as the guitar is notated one octave above its 
sounding pitch,

I use the following template:

\score {
  \new StaffGroup <<
\new Staff {
  \new Voice { \global \clef "treble_8"
   \override Voice.StringNumber #'transparent = ##t
   \music }
 }
\new TabStaff {
   \new TabVoice { \global \clef "moderntab" \music }
   }
>>
}

The octavated treble clef just does the right thing, and with the 
override, you

remove the unneccesary string numbers.




In this example, the low A is placed on the 5th fret, 6th string.
The minimum fret is the default (zero), but the tab calculator
does not choose the open-A string, even though it would be
far more convenient to play it that way.  If you annotate it with
fingerings:

1

it becomes doubly clear to the guitarist that the open-A string is
intended here, both because of the -0 fingering notation and
because it is the only physically reasonable configuration.

I see your point, but I have no idea whether a suitable algorithm
can be found to cope all possible fingerings.


There are actually _two_ signals here that the tab calculator
should be picking up but is not.  They are separate issues.
One is that even though the TabStaff.minimumFret is zero, the
calculator is not actually using the minimum fret.
IIUC, the calculator tries to put all fret positions within a four fret 
interval,

so  would show up as
e---
b---
g---
D-5-
A-5-
E---

 The other is
my #2 feature request, which is that it should respect open
string "fingering" requests, because they are unambiguous.

The workaround is to use string numbers external to the chord.
Putting them next to their notes merely creates redundant and
possibly irritating text for the guitarist to parse.  It's already clear
that it's an open A, so having a circled string number at that
note is pointless.


As mentioned above, the simple override solves at least this problem.

Regards,

Marc


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Re: formatting only one syllabe in a word - please help

[Marc Hohl]

Am 24.11.2010 09:27, schrieb Janek Warchoł:

Hi,

probably this is quite basic, but i'm in a hurry and can't find it in manuals...
I want only one syllabe in a word be formatted, for example i'd like
to have syllabe "ma" in word "malicious" bold and underlined.
Unfortunately the code \markup { {\bold \underline ma} licious }
produces two words: ma licious.
How should it be done?
   

Maybe \concat solves your problem? See

http://lilypond.org/doc/v2.13/Documentation/notation/align

HTH

Marc

cheers,
Jan

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Re: TabStaff feature requests

[Marc Hohl]

Am 24.11.2010 17:16, schrieb Steve Yegge:

Sigh... please disregard this.  It works fine.  I just had the wrong
expectations.  I assumed incorrectly that for purposes of relative
pitch calculation, the harmonics would be ignored, allowing you
to focus on the base string pitches.

It has to be properly documented, but at the moment I am very busy,
but I hope I'll get this stuff into a better shape soon.


It requires a bit more arithmetic this way, but it's logical enough.

Thanks for the patch -- you've fixed the biggest problem in my
150-page pile of arrangements!

You're welcome!

Regards,

Marc


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Re: TabStaff feature requests

[Marc Hohl]

Am 24.11.2010 15:59, schrieb Steve Yegge:

Hi Marc,

On Tue, Nov 23, 2010 at 11:28 PM, Marc Hohl <mailto:m...@hohlart.de>> wrote:



Just for clarification: as the guitar is notated one octave above
its sounding pitch,
I use the following template:

\score {
 \new StaffGroup <<
   \new Staff {
 \new Voice { \global \clef "treble_8"
  \override Voice.StringNumber #'transparent = ##t
  \music }
}
   \new TabStaff {
  \new TabVoice { \global \clef "moderntab" \music }
  }
>>
}

The octavated treble clef just does the right thing, and with the
override, you
remove the unneccesary string numbers.


Thanks; I'll try it.  How do I turn off the little "8" symbol by the clef?

Why do you want to remove it? This is the standard way of guitar notation.
But if you *really* want to get rid of it, an

\override OctavateEight #'stencil = ##f

should do the job (untested).

[...]

Oh, I didn't mean to suggest that there is such an algorithm, although
it seems like it would make a cool research project.  I was just using
this example to illustrate the need for the tab-understands-(-0) 
workaround.

Ah, I see. I was in fact thinking about such an algoritm long time ago,
but I got stuck very quickly.


[...]


That makes sense.  It's a really good heuristic, actually -- I've been
rather amazed at how often simply setting the minimum fret results in
generating optimal fingerings for a passage, even for relatively complex
music.

Yes, lilypond does a very decent job already in this case.

Regards,

Marc

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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 14.12.2010 14:23, schrieb Marc Mouries:
wow the font is really nice for song books. I also discovered the 
Gonville fonts and it would be great if those fonts be included into 
lilypond out of the box and the selection of font made simpler.

+1

Marc





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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 14.12.2010 19:38, schrieb Graham Percival:

On Tue, Dec 14, 2010 at 07:32:09PM +0100, Marc Hohl wrote:

Am 14.12.2010 14:23, schrieb Marc Mouries:

wow the font is really nice for song books. I also discovered the
Gonville fonts and it would be great if those fonts be included
into lilypond out of the box and the selection of font made
simpler.

+1

Patches for
http://code.google.com/p/lilypond/issues/detail?id=1204
will be thoughtfully examined.

:-)

Ok, you're right - but IMHO 1204 is about documenting the new font features,
whereas Marc Mouries proposed to include the Jazz font and Gonville into the
standard lilypond distribution, which is another issue.

Jean-Pierre G writes that the font is free to use, but he doesn't leave 
a contact

mail address on the page (or I have overlooked it - my french is very rusty)
so it is difficult to ask him...

The Gonville licence seems to be very permissive already.

Does it make sense to include external fonts into lilypond?

Regards,

Marc

Cheers,
- Graham




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Re: how to write a scheme function to override glissando properties

[Marc Hohl]

Am 14.12.2010 14:25, schrieb Patrick Schmidt:

Hi all,

Hi Patrick,


I noticed that glissandi are quite often hardly visible in a 
Staff-context. There is also a huge difference in the look of 
glissandi in Staff- and TabStaff-contexts. I'd like to write a 
function to adjust these differences for Staffs and TabStaffs 
separately but I don't even manage to manipulate the look in general. 
I'd be very grateful if someone showed me what's missing in the 
following code alternatives:



[...]

Don't you think that you could introduce global values within a layout 
block which fit

for the whole document?

Something like

\layout {
  \context {
\Voice
\override Glissando #'minimum-length =#
\override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods
  }
  \context {
\TabVoice
\override Glissando #'minimum-length = #
\override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods
  }
}

Regards,

Marc

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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 14.12.2010 20:09, schrieb Graham Percival:

On Tue, Dec 14, 2010 at 08:02:11PM +0100, Marc Hohl wrote:

Ok, you're right - but IMHO 1204 is about documenting the new font features,
whereas Marc Mouries proposed to include the Jazz font and Gonville into the
standard lilypond distribution, which is another issue.

Does it make sense to include external fonts into lilypond?

Technically, it's impossible to include external fonts, since once
they're included they cease to be external.

But including included fonts doesn't work either... :)

Patches will be thoughtfully considered (and I'm assuming that the
patch is under GPLv3).  The main questions are "does it break
anything that's currently working", "does it make things slower",

ok,

and "does it make the download size much much bigger".

How much is "much much"? Gonville is 3.5 MB, the Jazz font is 10 KB.
Downloading lilypond is 20 MB, so personally, I don't think this would
break the "much much bigger" clause.

Regards,

Marc


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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 14.12.2010 20:34, schrieb jakob lund:

2010/12/14 Marc Hohl:

Am 14.12.2010 19:38, schrieb Graham Percival:
Jean-Pierre G writes that the font is free to use, but he doesn't leave a
contact
mail address on the page (or I have overlooked it - my french is very rusty)
so it is difficult to ask him...

You did, in fact it is there: jpc...@gmail.com

Oh - thanks for the hint! I'll contact him...

Regards,

Marc


Jakob.




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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 15.12.2010 00:36, schrieb Valentin Villenave:

On Tue, Dec 14, 2010 at 8:39 PM, Marc Hohl  wrote:

Oh - thanks for the hint! I'll contact him...

I'm available to do the go-between if needed.

Thanks for your offer! I have no response until now, but
when problems occur, I'll inform you.

Regards,

Marc

Cheers,
Valentin.




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Re: how to write a scheme function to override glissando properties

[Marc Hohl]

Am 16.12.2010 17:04, schrieb Patrick Schmidt:

[...]
Hi Marc,

thanks for your solution but I'm still trying to find out what's wrong 
with the scheme function I posted. I discussed the need for this 
function with Carl and he gave me some advice: 
http://www.mail-archive.com/lilypond-devel@gnu.org/msg32745.html.


It might be impossible to find a general set of values for staves and 
tab staves. If I don't succeed I learned something about writing 
scheme functions, at least. Maybe you can spot the mistake in the 
function?

Hm, I don't know what's wrong - I tried something like

slide =
#(define-music-function (parser location len thick beg end) (number? 
number? ly:music? ly:music?)

  #{
 \once \override Glissando #'minimum-length = $len
 \once \override Glissando #'thickness = $thick
 \once \override Glissando #'springs-and-rods = 
#ly:spanner::set-spacing-rods

  $beg \glissando $end
  #})


myMusic = \relative c' {
  \slide #10 #5 a4 b4\3
}

\score {
<<
 \new Staff {
   \new Voice {
 \clef "treble_8"
 \myMusic
   }
 }
 \new TabStaff {
   \new TabVoice {
 \myMusic
   }
 }
>>
}

and that doesn't work either. I don't understand why ...

Sorry for being not very helpful.

Marc



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Re: how to write a scheme function to override glissando properties

[Marc Hohl]

Am 19.12.2010 21:26, schrieb jakob lund:

[...]
I think what happens is that the start note, passed to your function,
is already wrapped up in an object. \glissando is meant for use with a
single note, rather than with a music object.

Sounds reasonable.

You can use scheme to add the `start glissando' property to the object though:

\version "2.13.40"

slide = #(define-music-function (parser location length startnote)
(number? ly:music?)
#{
  \once\override Voice.Glissando #'minimum-length = $length
  \once\override Voice.Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
  #(begin
(set! (ly:music-property $startnote 'elements)
  (cons (make-music (quote GlissandoEvent))
(ly:music-property $startnote 'elements)
))
   (ly:export $startnote))
#})

{ \slide #7 a'' e'' }

Thanks for this example!

Regards,

Marc

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Re: how to write a scheme function to override glissando properties

[Marc Hohl]

Am 19.12.2010 21:22, schrieb Patrick Schmidt:

[...]

The values for  minimum-length in different contexts influence each 
other. The highest value wins. This is reasonable but unfortunately 
the glissandi staves and tab staves don't have the same length in 
print even when they were given the same value for minimum-length...
Ok, since the property is called minimum-length, of course the greater 
value wins - the
note heads are spaced wide enough so that the greater amount of 
#'minimum-length

fits between. The shorter glissando line will be expanded appropriately...

Thinking about it, I think that the default bounds are too big for 
tablature.


Have a look at

http://lilypond.org/doc/v2.13/Documentation/internals/glissando

In #'bound-details, the padding is set to 1.5 * staff-space, and because 
the staff-space in tablature is
1.5 times the normal space, the glissando lines are way too far away 
from the fret numbers.

Setting these to 1 will improve the output.

\once \override TabVoice.Glissando #'bound-details  = #'((right 
(attach-dir . 0) (padding . 1)) (left (attach-dir . 0) (padding . 1)))

a''2 \glissando e'

Regards,

Marc


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Re: pb with 2.13 with doc example fret diagram

[Marc Hohl]

Am 22.12.2010 03:43, schrieb Carl Sorensen:

On 12/21/10 7:26 PM, "Marc Mouries"  wrote:




On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote:


Well, it's supposed to be the number of semitones above middle C for 
each

open string, starting with the highest string.



Wow, that's really not self-explanatory but i get why it's needed. 
However

I'll have one less argument when my friend tell me that Lilypond is too
complicated.
Why not allow people to define tuning with notes, like:

violinTuning = #'(e' a d g)
guitarTuning= #'(e b g d a e,,)


Well, the short (and dumb) answer is because the notes e' a d g etc. are
lilypond input music expressions, and the string tuning needs to be a 
Scheme

list.

The next longer answer is probably "because nobody ever thought of it".


Not quite ;-)

http://lilypond-s-support-for-tablatures.3383434.n2.nabble.com/TAB-guide-tp5813587p5818252.html


and then have an internal function would compute the distance to from 
and to

the middle C?



The final answer is that it will be quite easy to to create a music 
function

that creates a string tuning object. How would this syntax be?

\makeStringTuning #'violinTuning {e' a d g}

If this sounds good, I'll have it done in the next day or so.


Sounds very promising indeed! As Patrick mentioned in his tablature test 
file,
a tablature key (i.e. string labels indicating the pitch) would be a 
useful enhancement.


I didn't dig very deep, but how complicated would it be to allow note 
names for

string tunings?

For standard situations, the music function \makeStringTuning will work, 
and we could save the
note names for later use within a tabKey. On the other hand, if the 
tuning is given in the
numeric way, the corresponding note names (at least with some tunings) 
will be not unambiguous.


So IMHO, while the latter solution will be easier to implement, the 
former proposal

is more extensible for the future.

Just my 2ct

Regards,

Marc





Thanks for the idea!

Carl


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Using lyrics in a markup

[Marc Hohl]

Hello list,

is there a possibility to re-use lyrics in a markup?

I am working on a musical for children and I get the sheets for several
instruments, choir, partition etc. by a simple shell script which calls sed
and lilypond.

Now I wonder whether it is possible to create a kind of text book by
including the lyrics in a markup, perhaps with a scheme function which
replaces the " -- " by "".

Is it possible to store the text in a variable?

I tried

\version "2.13.46"

words = { This is my ex -- amp -- le text }

text = \lyricsmode { \words }

melody = \relative c' { c4 d e f | g a c2 }

\score {
  \new Staff {
 \new Voice { \melody }
 \addlyrics { \text }
  }
}

% for text only, there would be then something like
%
% \markup { word-wrap { \some-scheme-filter \words } }

but lilypond complains about the first line. Is it possible to achieve
what I want? I'd prefer a lilypondish solution over some script hacking ...

Thanks in advance

Marc


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Re: Using lyrics in a markup

[Marc Hohl]

Am 15.01.2011 21:51, schrieb Neil Puttock:

On 15 January 2011 19:01, Marc Hohl  wrote:


Now I wonder whether it is possible to create a kind of text book by
including the lyrics in a markup, perhaps with a scheme function which
replaces the " -- " by "".

Is it possible to store the text in a variable?

Store the lyrics first, then extract the text from the LyricEvent objects:

\version "2.13.46"

words = \lyricmode { This is my ex -- am -- ple text }

text =
#(map (lambda (x) (ly:music-property x 'text))
   (extract-named-music words 'LyricEvent))

melody = \relative c' { c4 d e f | g a c2 }

\new Voice { \melody }
\addlyrics { \words }

#(markup* (make-line-markup text))

For simplicity I've ignored hyphens, but it shouldn't be too difficult
to add them (or use their position in the list of strings to restore
the hyphenated words).

Thanks for this solution! I'll investigate further how to concatenate
the syllables of the hyphenated words ...

Regards,

Marc

Cheers,
Neil




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Re: Using lyrics in a markup

[Marc Hohl]

Am 15.01.2011 21:51, schrieb Neil Puttock:

On 15 January 2011 19:01, Marc Hohl  wrote:


Now I wonder whether it is possible to create a kind of text book by
including the lyrics in a markup, perhaps with a scheme function which
replaces the " -- " by "".

Is it possible to store the text in a variable?

[...]

For simplicity I've ignored hyphens, but it shouldn't be too difficult
to add them (or use their position in the list of strings to restore
the hyphenated words).


This is what I got so far:

\version "2.13.46"

words = \lyricmode { This is my ex -- am -- ple text }

#(define (lyrics->list lyrics)
"Return a flat list containing all syllables and hyphens from  
@code{lyrics}."

   (let ((extracted-list
  (if (ly:music? lyrics)
  (if (memq (ly:music-property lyrics 'name) '(LyricEvent 
HyphenEvent))
  (begin (if (eq? (ly:music-property lyrics 'name) 
'LyricEvent)

 (list (ly:music-property lyrics 'text))
 (list "--")))
  (let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics->list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics->list x))
 elts)
  '(
 (flatten-list extracted-list)))


text = #(lyrics->list words)

melody = \relative c' { c4 d e f | g a c2 }

\new Voice { \melody }
\addlyrics { \words }

#(markup* (make-line-markup text))

The function liyrics->list extracts the syllables and the hyphens.

The second part (eliminating the hyphens in the list and concatenate the 
surrounding

syllables) seems a bit harder, but I try to find a solution.

Regards,

Marc

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Re: how to add punctuation mark (or other things) at the end of lyric extender?

[Marc Hohl]

Am 18.01.2011 13:48, schrieb Janek Warchoł:

Hi all,
i have a melisma at the end of a sentence, like here:

\version "2.13.45"
{
   \new Voice { c'8 d'4 e'8( c' f'4. g2 c'8 )}
   \addlyrics { ex -- ten -- der. __ }
}

i'd like the dot to appear after the extender (like in the bottom of
the attachment).
How can this be done? Manuals seem to say nothing about this, as well
as the mailing list archive.

Does

http://lsr.dsi.unimi.it/LSR/Item?u=1&id=643

help?

Regards,

Marc

cheers,
Janek


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Re: Using lyrics in a markup

[Marc Hohl]

Am 18.01.2011 16:10, schrieb jakob lund:

[...]
Sure... You have to play the game, right?

[...]
snip

Jakob

Wow, I am very impressed! The named let construct is absolutely new to me,
but allows for very elegant code.

These functions should be bundled in a snippet, or perhaps included in the
lilypond distribution?

Great work, thank you!

Regards

Marc

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Re: Using lyrics in a markup

[Marc Hohl]

Am 18.01.2011 18:56, schrieb Graham Percival:

On Tue, Jan 18, 2011 at 05:24:11PM +0100, Marc Hohl wrote:

These functions should be bundled in a snippet, or perhaps included in the
lilypond distribution?

Start by adding it to LSR.


Done.

http://lsr.dsi.unimi.it/LSR/Snippet?id=744

Regards,

Marc

Cheers,
- Graham




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Re: ChordName Font [was: lilypond cameo]

[Marc Hohl]

Am 21.12.2010 03:17, schrieb Graham Percival:

[...]

Excellent! How do we move forward and include this font?
btw are there any other nice fonts that we could include as well?

Somebody produces a patch, for lilypond git and/or GUB as
necessary, and we will examine it.  There are no guarantees that
we will accept any patch.

Do I need to fiddle with GUB to install a otf font file?
I understand (roughly) how the metafont stuff works, but
the JazzChord font is otf. I feel that pasting this file anywhere
in lilypond's build tree won't suffice to make the font available :-/

Regards,

Marc

Off the top of my head, I'd estimate at least 10 hours of work for
anybody unfamiliar with both lilypond and GUB to be able to
produce any sort of a patch.

Cheers,
- Graham

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