Re: Constructive Criticism and a Question

[Erik Sandberg]

On Wednesday 20 December 2006 10:58, Mats Bengtsson wrote:
> I agree that the scores that take most time to type in are those that have
> repeated rhythms like
> \times 2/3 {c c c } c4 \times 2/3 {c c c } c4
> or
> c8 c16 c c4 c8 c16 c c4
> especially if these are combined with slurs. It is certainly possible to
> implement your
> own music function that applies a specific rhyhtmic pattern to a set of
> pitches.
> However, this if fairly clumsy to do for the moment. I'm sure that some
> clever
> Scheme hacker can come up with some solution like
> mypattern = #(make-rhythmization #{ c8 c16 c16 c4 #})
> so that
> \mypattern {c d e f }
> results in
> c8 d16 e16 f4
>
> Of course, it would be even better if the function also could produce
> the \pat
> function in input/test/music-box.ly, i.e. where some of the pitches are
> repeated
> in the rhythmic pattern.

You can try this one:

#(define (make-rhythmization pattern)
 (define-music-function (parser location music) (ly:music?)
((trans (ly:music-property music 'elements)) pattern)))

It depends on the 'trans' function definition in music-box.ly.

If you think it's a useful tool, then perhaps it could be added to the lily 
distribution. I'd prefer some other name though, e.g. make-pattern-function. 
It's difficult to spell rhythmization, and the word could mean different 
things.

BTW: IWBN to have high-order functions in lily, so we could use a nice syntax 
like:
pat = \makePatternFunction { ... }
This would require static typing of music function return values, which 
probably would be doable if we implement a proper typing system (e.g., let 
the car of the music function signature denote the return type; if that's a 
list, it returns a function of the given type). 

Ah, another good thing with typed return values, is that we could make the 
distinction between post-events and music cleaner. Hrm, that would also 
require that the \tweak function is polymorphic in some sense.. perhaps this 
is what you meant in your previous mail, Han-Wen?

-- 
Erik


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Re: Constructive Criticism and a Question

[Han-Wen Nienhuys]

[EMAIL PROTECTED] escreveu:

> Since the duration would be the second of three arguments, it could not be
> optional, but that's not a problem.
> 
> I think (?) this would have the side effect that \tuplet 3:2 2. would
> be the same as \tuplet 6:4 2. or \tuplet 9:6 2., which would mean
> that it would always be OK (even if not required) to express the ratio
> in reduced form (3:2 here).

1. We want to cut back on optional constructs

2. \tuplet 6:4 2. { .. }  is a lot of numbers. Not very readable IMO.

-- 

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

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



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date insertion

[Matevž Jekovec]

Is there a predefined constant in Lily which shows the current date
and/or system time.

This would be useful for the footer tag for example, when was the
document generated - this would mark the version of the score then, if
you made any newer versions of your document afterwards.


Regards.
- Matevž



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Re: date insertion

[Gilles Sadowski]

Hello.

> Is there a predefined constant in Lily which shows the current date
> and/or system time.
> 

today = #(strftime "%d-%m-%Y" (localtime (current-time)))


Best,
Gilles


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Re: Getting involved

[Till Rettig]

This sounds like a good start. Does the translation so far only concern 
the webpage, or is there also some (of course now older) documentation 
translated?


Well I will try to sort out my way on this...
Greetings
Till



Till Rettig <[EMAIL PROTECTED]> writes:

Hi Till,

  

a while ago I thought i might put my own bit into the lilypond
work. So I checked the stuff on the development pages and ended up
that a German translation for the web page and the documentation would
be a nice thing. But first I thought of asking here if there is this
kind of project already under progress (like the similar case recently
with the French docu).



There was a project started by Marc Weber (Cc).  Marc made an initial
translation in July 2005.  We then had discussions with a lot of
suggestions going until 2006, but did not receive an update.

Because of your post, I have just added Marc's last effort to the GIT
repository.  It would be up to you (and Marc) to see if this is
helpful, or if you would want to start fresh.

If we do not hear from Marc, I will try to add make the changes that
Werner and I suggested to GIT.

Marc, are you there?  Do you have an updated version available?

See

http://git.sv.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=README;hb=web/master
and
   
http://git.sv.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=TRANSLATION;hb=web/master

for how to get started.

See also the discussion about french documentation

http://lists.gnu.org/archive/html/lilypond-devel/2005-04/msg00233.html

that has lead to the french website.

Greetings,
Jan.

  
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Re: Getting involved

[Jan Nieuwenhuizen]

Till Rettig <[EMAIL PROTECTED]> writes:

> This sounds like a good start. Does the translation so far only
> concern the webpage, or is there also some (of course now older)
> documentation translated?

Only a part of the website.  That part needs to be checked using

   make check-translation LANG=de

and updated, as well as proofread.

Greetings,
Jan.


-- 
Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien   | http://www.lilypond.org


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Upgrades

[Cesar Penagos]

Dearest Lilyponders:
When I started with lilypond 2.6, I remember, there are two options  in  
the downloads page;

1. Install option.
2. Upgrade option.
I´m a Windows XP user, and is very hard to uninstall lilypond for the next  
version. I like very much the experimental versions.

May be I´m doing incorrectly?
Is there a way to return to upgrade option in the installers for Windows  
xp?

Thank You in advance

--
Atentamente;
César Penagos
Tel:Of:(502)2253-7181, 2253-3826
Home:(502)2474-4972, 2473-2510
[EMAIL PROTECTED]
[EMAIL PROTECTED]


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Re: date insertion

[Rick Hansen (aka RickH)]

Matevž Jekovec-2 wrote:
> 
> Is there a predefined constant in Lily which shows the current date
> and/or system time.
> 
> This would be useful for the footer tag for example, when was the
> document generated - this would mark the version of the score then, if
> you made any newer versions of your document afterwards.
> 
> 
> Regards.
> - Matevž
> 
> 
>  
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> 
> 


Or... if you wanted to print the last time you modified your score you can
use this:

varFileName = #"Music.ly"
varModifiedTime = #(stat:mtime ( stat varFileName ))
varModifiedTimeString = #(strftime "%a %Y-%m-%d %I-%p" (localtime
varModifiedTime))

Then just reference \varModifiedTimeString in your footer markup.




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Re: Constructive Criticism and a Question

[Jonathan Henkelman]

--- Brett Duncan wrote:

> > \tuplet 3:2 {c4 c8 c c4}
> >
> > should be printed as
> >
> > |- 3 |
> >   __
> >  |   |  |   |
> >  |   |  |   |
> > X   X  X   X
> >
> > or as
> >
> > |- 3 -| |- 3 -|
> >
> >  |   |\  |\  |
> >  |   |   |   |
> > X   X   X   X

If we are going to worry about seperating the music from the typesetting, then 
it is worth observing that these two are equivalent musically.  It doesn't 
matter which way the typesetter chooses as it's default as they are both 
valid.  If a more advanced user wants to change the default behaviour they can 
do so using \setTupletSpanner.  The beginner user is going to get something 
meaningful and what they had intended musically.

I would propose the default implementation tries to figure it out from the 
length of the first note in the tuplet musical expression.  It seems there is 
president for this approach (although I am to new to remember where I saw 
it...).  In that case it would probably pick the first example.

Jonathan



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Re: My first define-music-function, I'm trying, need help

[Rick Hansen (aka RickH)]

Anybody?



Rick Hansen (aka RickH) wrote:
> 
> The simple substitution example below should be pretty easy, but I'm "in a
> pickle", can someone show me how to replace the note name in the transpose
> statement with the note specified on the function call (parameter called
> "root")?
> 
> But it gets the following error:
> 
> :2:13: error: syntax error, unexpected MUSIC_IDENTIFIER, expecting
> NOTENAME_PITCH or TONICNAME_PITCH
> \transpose c 
>  \lilyvartmpb { \relative {  } }
> 
> 
>  EXAMPLE BEGIN
> 
> \version "2.11.4"
> \include "english.ly"
> 
> myChord = #(define-music-function (parser location root) (ly:music?)
> #{
> \transpose c $root { \relative {  } }
> #})
> 
>\new Staff {
> 
> % An A chord
> %\transpose c a { \relative {  } }
> 
> % Theoretically, this should also generate "an A chord" just like
> above
> \myChord a
> 
>}
> 
> 
> 
>  EXAMPLE END
> 
> 
> 

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Two-Pass Vertical Spacing

[William Oram]

I've been toying with two-pass vertical spacing. Pretty neat, and
exactly what I need. A couple questions:

1) Is it *supposed* to force each system onto a separate page? That
seems to be what it's doing: splitting pages with multiple systems. I'd
be OK with this, aside from the smaller systems filled with tons of
white space. Unfortunately, after giving systems their own pages, a
vertical respacing isn't performed on them. In short, only pages that
could fit one system anyway are properly respaced.

It's hard to pictorally show this. Here's Preview.app's preview of the
first 11 pages of a sample score.

Without vertical spacing: http://www.foxchange.com/spamguy/nospacing.jpg
With vertical spacing: http://www.foxchange.com/spamguy/spacing.jpg

Note how pp. 3 - 6 have multiple systems per page in the first example.
In the second, all systems on 3 - 6 are given their own pages but not
stretched down the page.

If you want code for this, I can provide the .lys that made the above,
but making a simple reproduction from scratch is WAY beyond me.

---

2) This seems to be something that can't be applied across a \book {} of
scores. I suppose with a little work a book could be broken into
individual scores, processed separately, then merged together with
LaTeX. But \book was invented to avoid that old mess, no?

the morning lets you live
but not sleeping is too hard
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Re: My first define-music-function, I'm trying, need help

[Sébastien Gross]

On Thu, Dec 21, 2006 at 02:48:24PM -0800, [EMAIL PROTECTED] wrote:
> 
> The simple substitution example below should be pretty easy, but I'm "in a
> pickle", can someone show me how to replace the note name in the transpose
> statement with the note specified on the function call (parameter called
> "root")?
> 
> But it gets the following error:
> 
> :2:13: error: syntax error, unexpected MUSIC_IDENTIFIER, expecting
> NOTENAME_PITCH or TONICNAME_PITCH
> \transpose c 
>  \lilyvartmpb { \relative {  } }
> 


Well I am not a lily schemer expert neither.

I found a function to transpose in the lily sources:

(set! root (ly:pitch-transpose root (ly:make-pitch 1 0 0)))

this makes note "root" one octave higher.

What you have to do:
- get wanted pitch:
(ly:music-property (first
(ly:music-property root 'elements)) 'pitch)
- apply "ly:pitch-transpose" for each note of the chord:

(map do-transpose (ly:music-property chords 'elements))

you have to write "do-transpose" an a function that do the job :-)

For example, have a look at the "removeTies" function here:
http://lilypond.chezwam.org/darcs/lilypond/utils/chezwam-functions.ly

This was my first scheme function I hope this will help you.


I will have a look on your's after my  vacations.


Merry Xmas & happy new year.


-- 
Sebastien Gross


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Has anyone extended \include?

[Rick Hansen (aka RickH)]

Has anyone on this list extended the \include lilypond command to also do
simple token replacement as it is "including" the text?  IOW like this:

\include "myFile.ly" @myToken1=a; @myToken2=25; @myToken3="replace with
this"

Whereby @myToken1, 2 and 3 above will be whole word searched and replaced
with the data between the = sign and semi-colon.

Or similar?

Kind of like a "smart" \include?

If you have done this can you share it or sell it to me?  (please dont
suggest m4, I gave up on that monster)

Thanks


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Re: My first define-music-function, I'm trying, need help

[Rick Hansen (aka RickH)]

seb-g wrote:
> 
> On Thu, Dec 21, 2006 at 02:48:24PM -0800, [EMAIL PROTECTED]
> wrote:
>> 
>> The simple substitution example below should be pretty easy, but I'm "in
>> a
>> pickle", can someone show me how to replace the note name in the
>> transpose
>> statement with the note specified on the function call (parameter called
>> "root")?
>> 
>> But it gets the following error:
>> 
>> :2:13: error: syntax error, unexpected MUSIC_IDENTIFIER,
>> expecting
>> NOTENAME_PITCH or TONICNAME_PITCH
>> \transpose c 
>>  \lilyvartmpb { \relative {  } }
>> 
> 
> 
> Well I am not a lily schemer expert neither.
> 
> I found a function to transpose in the lily sources:
> 
> (set! root (ly:pitch-transpose root (ly:make-pitch 1 0 0)))
> 
> this makes note "root" one octave higher.
> 
> What you have to do:
>   - get wanted pitch:
>   (ly:music-property (first
>   (ly:music-property root 'elements)) 'pitch)
>   - apply "ly:pitch-transpose" for each note of the chord:
> 
>   (map do-transpose (ly:music-property chords 'elements))
> 
> you have to write "do-transpose" an a function that do the job :-)
> 
> For example, have a look at the "removeTies" function here:
> http://lilypond.chezwam.org/darcs/lilypond/utils/chezwam-functions.ly
> 
> This was my first scheme function I hope this will help you.
> 
> 
> I will have a look on your's after my  vacations.
> 
> 
> Merry Xmas & happy new year.
> 
> 
> -- 
> Sebastien Gross
> 
> 
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> 
> 


Thanks Sebastien,

I was afraid of this kind of answer, if define-music-function cant do
something as simple as replace one note on a \transpose without writing a
whole bunch of code... I'm not going to bother with it myself.  Too much
complexity, I'd rather look for something that will let me stay on a
user-level, I just dont have time for programming.  

Lilypond desperately needs some king of built-in text pre-process (that
installs with lilypond) to take care of these things, instead of everybody
having to constantly re-write the core lilypond code to do such simple
things.

Rick


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Re: My first define-music-function, I'm trying, need help

[Sébastien Gross]

On Fri, Dec 22, 2006 at 09:11:04AM -0800, [EMAIL PROTECTED] wrote:
> Lilypond desperately needs some king of built-in text pre-process (that
> installs with lilypond) to take care of these things, instead of everybody
> having to constantly re-write the core lilypond code to do such simple
> things.

Indeed.

If some people are interested in a python binding in addition of scheme
(to let choise to use either scheme and/or python), I would be glad to
help sponsor this feature.
But is it realizable? would it take a lot of time? would maintenance be
easy on it?

Otherwise I will buy myself a scheme book :-)

Regards

-- 
Sebastien Gross


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How to make a grace rest?

[Rick Hansen (aka RickH)]

How can I code a grace note (actually that is really a grace rest) but also
make it completly invisible and take up no space, on a one-time/as-needed
basis?  

I'd like to be able to change the "current duration" that lilypond has set
without actually having to introduce any music to the score that would be
seen, or get played in midi, or count against the measure beats.

Is there a grace rest?  And can I temporarily set it to transparent when I
need to?

thanks
Rick




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Re: Constructive Criticism and a Question

[Han-Wen Nienhuys]

Jonathan Henkelman escreveu:
> --- Brett Duncan wrote:
> 
>>> \tuplet 3:2 {c4 c8 c c4}
>>>
>>> should be printed as
>>>
>>> |- 3 |
>>>   __
>>>  |   |  |   |
>>>  |   |  |   |
>>> X   X  X   X
>>>
>>> or as
>>>
>>> |- 3 -| |- 3 -|
>>>
>>>  |   |\  |\  |
>>>  |   |   |   |
>>> X   X   X   X
> 
> If we are going to worry about seperating the music from the typesetting, 
> then 
> it is worth observing that these two are equivalent musically.  It doesn't 

No, they aren't. The stresses fall in different places.  In bottom example, the 
stress is 
on the 2nd 8th note.

-- 

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Re: Has anyone extended \include?

[Eduardo Vieira]

Citando "Rick Hansen (aka RickH)" <[EMAIL PROTECTED]>:

>
>
> If you have done this can you share it or sell it to me?  (please dont
> suggest m4, I gave up on that monster)
>
> Thanks
>

Hi, Rick! Yes, this preprocessor looks scary, as well as some advanced
programming with Scheme. But once I got into reading about the GEMA
preprocessor and didn't look as complicated as m4. Maybe it's worth a try.
Another thing I found out that is *really* useful with text editing,
manipulating: Learn Regular Expressions. You can do quite a few tricky search
and replace tasks. And most of text editors for programmers support them.

Eduardo
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Re: Has anyone extended \include?

[Rick Hansen (aka RickH)]

Eduardo Vieira-3 wrote:
> 
> Citando "Rick Hansen (aka RickH)" <[EMAIL PROTECTED]>:
> 
>>
>>
>> If you have done this can you share it or sell it to me?  (please dont
>> suggest m4, I gave up on that monster)
>>
>> Thanks
>>
> 
> Hi, Rick! Yes, this preprocessor looks scary, as well as some advanced
> programming with Scheme. But once I got into reading about the GEMA
> preprocessor and didn't look as complicated as m4. Maybe it's worth a try.
> Another thing I found out that is *really* useful with text editing,
> manipulating: Learn Regular Expressions. You can do quite a few tricky
> search
> and replace tasks. And most of text editors for programmers support them.
> 
> Eduardo
> ___
> Neste Fim de Ano, interurbano para cidades próximas ou distantes é com o 
> 21.
> A Embratel tem tarifas muito baratas de presente para você ligar para quem
> você gosta e economizar. Faz um 21 e aproveite.
> 
> 
> 
> ___
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> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 

I was not aware of GEMA, (I already tried m4 and ML1 but was uncomfortable
with them in the mix), actually ideally I'd rather lilypond had it's own
source text pre-processor, then going forward my music would have no other
software dependencies other than a lilypond installation, IOW no 3rd party
macros.

I know of regular expressions and use them in my text editor searches, etc.
but this is more along the lines of making my lilypond music code itself
more flexible, I'm happy with many different editors and am trying to avoid
creating my lilypond music code libraries in any specific editors snippet
library.  I'd prefer to keep my libraries as lp \include files, but at some
point I'm always needing some pre-processing of the source text prior to lp
compilation.  Be it token replacement (to change \key perhaps), or a Case
statement to \include a parameterized chord inversion selection from a
library of chords, etc.



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Tim Reeves is out of the office.

[Tim Reeves]

I will be out of the office starting  12/22/2006 and will not return until
12/27/2006.




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Re: My first define-music-function, I'm trying, need help

[Geoff Horton]

I was afraid of this kind of answer, if define-music-function cant do
something as simple as replace one note on a \transpose without writing a
whole bunch of code... I'm not going to bother with it myself.  Too much
complexity, I'd rather look for something that will let me stay on a
user-level, I just dont have time for programming.


I've been using m4 myself. The devs seem strongly resistant to the
idea of a built-in preprocessor.

Geoff


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Fully understanding D.2.4 template

[Tomas Valusek]

Hello,

I'm a piano teacher, so I'd like to understand what's the meaning of all 
the statements used in layout block of D.2.4 template. I'm going  to 
include it below, my questions are marked there.


\version "2.9.13"
upper = \relative c'' {
  \clef treble
  \key c \major
  \time 4/4
   
  a b c d

}
   
lower = \relative c {

  \clef bass
  \key c \major
  \time 4/4
   
  a2 c

}
   
dynamics = {

  s2\fff\> s4
  s\!\pp
}
   
pedal = {

  s2\sustainDown s2\sustainUp
}
   
\score {

  \new PianoStaff <<
\new Staff = "upper" \upper
\new Dynamics = "dynamics" \dynamics
\new Staff = "lower" <<
  \clef bass
  \lower
>>
\new Dynamics = "pedal" \pedal
  >>
  \layout {
\context {
  \type "Engraver_group"
  \name Dynamics
  \alias Voice % So that \cresc works, for example.
  \consists "Output_property_engraver"
   
  \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) % 
??? How to change distance between \upper and \lower staves?

  pedalSustainStrings = #'("Ped." "*Ped." "*")
  pedalUnaCordaStrings = #'("una corda" "" "tre corde")
   
  \consists "Piano_pedal_engraver"

  \consists "Script_engraver"
  \consists "Dynamic_engraver"
  \consists "Text_engraver"
   
  \override TextScript #'font-size = #2

  \override TextScript #'font-shape = #'italic
  \override DynamicText #'extra-offset = #'(0 . 2.5) % ???
  \override Hairpin #'extra-offset = #'(0 . 2.5) % ???
   
  \consists "Skip_event_swallow_translator" % ???
   
  \consists "Axis_group_engraver" % ???

}
\context {
  \PianoStaff
  \accepts Dynamics
  \override VerticalAlignment #'forced-distance = #7 % ??? How 
to change distance between \upper and \lower staves?

}
  }
}
\score {
  \new PianoStaff <<
\new Staff = "upper" << \upper \dynamics >>
\new Staff = "lower" << \lower \dynamics >>
\new Dynamics = "pedal" \pedal
  >>
  \midi {
\context {
  \type "Performer_group"
  \name Dynamics
  \consists "Piano_pedal_performer"
}
\context {
  \PianoStaff
  \accepts Dynamics
}
  }
}


One more question arises: How to extend this template to include solo 
instrument with smaller staff? (Maybe template D.2.5.)


Tomas Valusek


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Re: Two-Pass Vertical Spacing

[Nicolas Sceaux]

William Oram <[EMAIL PROTECTED]> writes:

> I've been toying with two-pass vertical spacing. Pretty neat, and
> exactly what I need. A couple questions:
>
> 1) Is it *supposed* to force each system onto a separate page?

No. The purpose of two pass spacing is to have the same page breaks, but
with bigger systems, that is less space between systems.

> 2) This seems to be something that can't be applied across a \book {} of
> scores. I suppose with a little work a book could be broken into
> individual scores, processed separately, then merged together with
> LaTeX. But \book was invented to avoid that old mess, no?

Two-pass spacing works on several score books -- it was written for
that. By the way, are you sure you need to explicitely use \book?

Maybe you could send the ly file with the score definitions (that is,
the \score blocks, but without the notes), to see if you're using it the
right way.

nicolas


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Re: no cautionary clef

[Mats Bengtsson]

Quoting [EMAIL PROTECTED]:

...

But to get no cautionary key signature at the end of a line
(when the key signature changes on the following line),
I wasn't able to figure out how to accomplish that at the point
(some time ago) when I would have preferred to do without the
cautionary key-change indication.  How is that done?


Try (untested):
\override KeyCancellation #'break-visibility = #end-of-line-invisible

  /Mats



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Re: Has anyone extended \include?

[Nicolas Sceaux]

"Rick Hansen (aka RickH)" <[EMAIL PROTECTED]> writes:

> Has anyone on this list extended the \include lilypond command to also do
> simple token replacement as it is "including" the text?  IOW like this:
>
> \include "myFile.ly" @myToken1=a; @myToken2=25; @myToken3="replace with
> this"
>
> Whereby @myToken1, 2 and 3 above will be whole word searched and replaced
> with the data between the = sign and semi-colon.
>
> Or similar?
>
> Kind of like a "smart" \include?
>
> If you have done this can you share it or sell it to me?  (please dont
> suggest m4, I gave up on that monster)

I use in my scores some functions called \includeScore, \includeNotes,
\includeLyrics, etc. You can look at the sources at
 or this article:


The LilyPond distribution has a function that makes a conditional
include: see \includePageLayoutFile in ly/music-functions-init.ly.

But then, there is no textual replacement when parsing LilyPond file;
instead you should use variables.

%% The function definition:
myInclude =
#(define-music-function (parser location filename bindings)
(string? list?)
  ..set some variables and include the file..
  (make-Music 'SequentialMusic 'void #t))

%% Function usage:
\myInclude "foo.ily" #'((myPadding . 4)
(myString . "hello")
(myMusicPattern . #{ c d e f #}))

%% foo.ily:
\score {
  \new Staff {
\override TextScript #'padding = \myPadding
<< 
  s0^\markup \italic \myString 
  \repeat unfold 4 \myMusicPattern
>>
  }
}

nicolas


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Re: Constructive Criticism and a Question

[Jonathan Henkelman]

Han-Wen Nienhuys  lilypond.org> writes:

> 
> Jonathan Henkelman escreveu:
> > --- Brett Duncan wrote:
> > 
> >>> \tuplet 3:2 {c4 c8 c c4}
> >>>
> >>> should be printed as
> >>>
> >>> |- 3 |
> >>>   __
> >>>  |   |  |   |
> >>>  |   |  |   |
> >>> X   X  X   X
> >>>
> >>> or as
> >>>
> >>> |- 3 -| |- 3 -|
> >>>
> >>>  |   |\  |\  |
> >>>  |   |   |   |
> >>> X   X   X   X
> > 
> > If we are going to worry about seperating the music from the typesetting, 
then 
> > it is worth observing that these two are equivalent musically.  It doesn't 
> 
> No, they aren't. The stresses fall in different places.  In bottom example, 
the stress is 
> on the 2nd 8th note.
> 

True enough, but it will also depend on the time signature.  However, we still 
need to have a default and it seems deciding based on the value of the first 
note is as reasonable a guess as any.  It can always be overriden by an 
experienced user.

Jonathan

PS. Sorry Han-wen for the double mailing - I'm still not totally comfortable 
with this archive interface...





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Re: no cautionary clef

[Rune Zedeler]

[EMAIL PROTECTED] wrote:


But to get no cautionary key signature at the end of a line
(when the key signature changes on the following line),
I wasn't able to figure out how to accomplish that at the point
(some time ago) when I would have preferred to do without the
cautionary key-change indication.  How is that done?


  \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible

-Rune


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Re: Hiding empty staves

[Bob Kline]

Bob Kline wrote:
> Graham Percival wrote:
> 
>> Have you read chapter 9 as well?  If not, could you read that and let me
>> know if it helps?  Once you do understand it, could you also propose an
>> addition to the docs to clear this up?
> 
> I will keep trying and report back results.

OK, I give up.  I've posted the exact code earlier in this thread
showing my attempt to do *exactly* what it was suggested I do.  I've
read (more than once) all of the sections of the manual to which I've
been directed.  I've tried everything I can think of to get the empty
staff to disappear in the first system, but nothing works.

I know from first-hand experience with the software packages to which
I've contributed code myself how frustrating it can be to field the same
questions repeatedly from users who can't be bother to make any effort
to use the tools (including the documentation) which has been provided
for them.  But I also know that when a user actually tries to solve
his/her problems with the software I am more than willing to do whatever
it takes to explain how to get it to do what is needed.

It's possible that the developers are looking at my attempts with pity
and wonder that I'm so feeble-minded that I can't understand what their
documentation is explaining so clearly.  It's also possible that no one
knows how to achieve the result I'm after and for some reason it's more
comfortable to say "go read another chapter until you understand it,
grasshopper" than to simply say "I don't know."

Thanks anyway to anyone who was sincerely trying to assist me.  Sorry I
didn't get it.

-- 
Bob Kline
http://www.rksystems.com
mailto:[EMAIL PROTECTED]


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Re: How to make a grace rest?

[Trevor Bača]

On 12/22/06, Rick Hansen (aka RickH) <[EMAIL PROTECTED]> wrote:


How can I code a grace note (actually that is really a grace rest) but also
make it completly invisible and take up no space, on a one-time/as-needed
basis?

I'd like to be able to change the "current duration" that lilypond has set
without actually having to introduce any music to the score that would be
seen, or get played in midi, or count against the measure beats.

Is there a grace rest?  And can I temporarily set it to transparent when I
need to?


Hi Rick,

Are you wanting to update what time Lily currently thinks it is at
within a measure?

If so, section 8.4.2 on time administration might help with
Score.setMeasurePosition.

If you're wanting to change the duration of notes or rests before or
after some event, there's always the * times operator after the
written duration.


--
Trevor Bača
[EMAIL PROTECTED]
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Re: How to make a grace rest?

[Mats Bengtsson]

I have already told you that this is a dead end.

The "current duration" is handled when LilyPond reads
through the input file, character by character. For example
if you have
somemusic = {c1 }
firstdefinition = { a }
someothermusic = {c2 }
seconddefinition = { g }

then \firstdefinition will always expand to a1 and \seconddefinition
will always expand to g2, no matter what happens before they
are used.

  /Mats


Rick Hansen (aka RickH) wrote:


How can I code a grace note (actually that is really a grace rest) but also
make it completly invisible and take up no space, on a one-time/as-needed
basis?  


I'd like to be able to change the "current duration" that lilypond has set
without actually having to introduce any music to the score that would be
seen, or get played in midi, or count against the measure beats.

Is there a grace rest?  And can I temporarily set it to transparent when I
need to?

thanks
Rick




 




--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=



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Re: Hiding empty staves

[Mats Bengtsson]

Did you see my answer from November 20?

  /Mats

Bob Kline wrote:


Bob Kline wrote:
 


Graham Percival wrote:

   


Have you read chapter 9 as well?  If not, could you read that and let me
know if it helps?  Once you do understand it, could you also propose an
addition to the docs to clear this up?
 


I will keep trying and report back results.
   



OK, I give up.  I've posted the exact code earlier in this thread
showing my attempt to do *exactly* what it was suggested I do.  I've
read (more than once) all of the sections of the manual to which I've
been directed.  I've tried everything I can think of to get the empty
staff to disappear in the first system, but nothing works.

I know from first-hand experience with the software packages to which
I've contributed code myself how frustrating it can be to field the same
questions repeatedly from users who can't be bother to make any effort
to use the tools (including the documentation) which has been provided
for them.  But I also know that when a user actually tries to solve
his/her problems with the software I am more than willing to do whatever
it takes to explain how to get it to do what is needed.

It's possible that the developers are looking at my attempts with pity
and wonder that I'm so feeble-minded that I can't understand what their
documentation is explaining so clearly.  It's also possible that no one
knows how to achieve the result I'm after and for some reason it's more
comfortable to say "go read another chapter until you understand it,
grasshopper" than to simply say "I don't know."

Thanks anyway to anyone who was sincerely trying to assist me.  Sorry I
didn't get it.

 




--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=



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Re: Hiding empty staves

[Manuel]

Well, well...

Dear Bob, you did give me some hope. I thought that not knowing a  
thing about programming was my problem, maybe being too stupid or  
lazy to understand what should be clear to me. But I see that you are  
indeed a software developer and still can have trouble with a programm.


Indeed, the didactical quality of LilyPond's tutorials is nowhere  
near to the program's quality, indeed maybe the best music notation  
software there is at the moment.


I am a professional musician and an experienced music teacher. I  
would even be willing to write a first chapter of a User's Guide for  
the Very Beginner. But although I am sincerely sorry that you are  
giving up because of lack of adequate support, I think maybe there is  
still hope for the digitally challenged...


Manuel



Am 22/12/2006 um 22:44 schrieb Bob Kline:


Bob Kline wrote:

Graham Percival wrote:

Have you read chapter 9 as well?  If not, could you read that and  
let me
know if it helps?  Once you do understand it, could you also  
propose an

addition to the docs to clear this up?


I will keep trying and report back results.


OK, I give up.  I've posted the exact code earlier in this thread
showing my attempt to do *exactly* what it was suggested I do.  I've
read (more than once) all of the sections of the manual to which I've
been directed.  I've tried everything I can think of to get the empty
staff to disappear in the first system, but nothing works.

I know from first-hand experience with the software packages to which
I've contributed code myself how frustrating it can be to field the  
same

questions repeatedly from users who can't be bother to make any effort
to use the tools (including the documentation) which has been provided
for them.  But I also know that when a user actually tries to solve
his/her problems with the software I am more than willing to do  
whatever

it takes to explain how to get it to do what is needed.

It's possible that the developers are looking at my attempts with pity
and wonder that I'm so feeble-minded that I can't understand what  
their
documentation is explaining so clearly.  It's also possible that no  
one
knows how to achieve the result I'm after and for some reason it's  
more

comfortable to say "go read another chapter until you understand it,
grasshopper" than to simply say "I don't know."

Thanks anyway to anyone who was sincerely trying to assist me.   
Sorry I

didn't get it.

--
Bob Kline
http://www.rksystems.com
mailto:[EMAIL PROTECTED]


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Re: Fully understanding D.2.4 template

[Mats Bengtsson]

First of all, I recommend you to take a look at
http://lists.gnu.org/archive/html/bug-lilypond/2005-08/msg00130.html

If you want to stick with the complicated template, the best and simplest
way for you to figure out the answer yourself, if just to change the
values of some property and look at the resulting output to see what
changed.

Anyway:

Tomas Valusek wrote:


Hello,

I'm a piano teacher, so I'd like to understand what's the meaning of 
all the statements used in layout block of D.2.4 template. I'm going  
to include it below, my questions are marked there.


\version "2.9.13"
upper = \relative c'' {
  \clef treble
  \key c \major
  \time 4/4
 a b c d
}
   lower = \relative c {
  \clef bass
  \key c \major
  \time 4/4
 a2 c
}
   dynamics = {
  s2\fff\> s4
  s\!\pp
}
   pedal = {
  s2\sustainDown s2\sustainUp
}
   \score {
  \new PianoStaff <<
\new Staff = "upper" \upper
\new Dynamics = "dynamics" \dynamics
\new Staff = "lower" <<
  \clef bass
  \lower
>>
\new Dynamics = "pedal" \pedal
  >>
  \layout {
\context {
  \type "Engraver_group"
  \name Dynamics
  \alias Voice % So that \cresc works, for example.
  \consists "Output_property_engraver"
 \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 
1) % ??? How to change distance between \upper and \lower staves?
  


You are in the middle of the definition of the separate context for handling
dynamics, which has nothing directly to do with the distance between the
staves.


pedalSustainStrings = #'("Ped." "*Ped." "*")
  pedalUnaCordaStrings = #'("una corda" "" "tre corde")
 \consists "Piano_pedal_engraver"
  \consists "Script_engraver"
  \consists "Dynamic_engraver"
  \consists "Text_engraver"
 \override TextScript #'font-size = #2
  \override TextScript #'font-shape = #'italic
  \override DynamicText #'extra-offset = #'(0 . 2.5) % ???
  


Moving things around vertically, to look better.


   \override Hairpin #'extra-offset = #'(0 . 2.5) % ???
 \consists "Skip_event_swallow_translator" % ???
 \consists "Axis_group_engraver" % ???
}
\context {
  \PianoStaff
  \accepts Dynamics
  \override VerticalAlignment #'forced-distance = #7 % ??? How 
to change distance between \upper and \lower staves?


Here it is!


}
  }
}
\score {
  \new PianoStaff <<
\new Staff = "upper" << \upper \dynamics >>
\new Staff = "lower" << \lower \dynamics >>
\new Dynamics = "pedal" \pedal
  >>
  \midi {
\context {
  \type "Performer_group"
  \name Dynamics
  \consists "Piano_pedal_performer"
}
\context {
  \PianoStaff
  \accepts Dynamics
}
  }
}


One more question arises: How to extend this template to include solo 
instrument with smaller staff? (Maybe template D.2.5.)


See the example called "staff-mixed-size.ly" in the Regression Test 
document.



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Re: Upgrades

[Mats Bengtsson]

The simple explanation is probably that it's much more
difficult to make an upgrade package that works correctly
than to make a clean installation package.

What are your problems to uninstall LilyPond?

  /Mats

Cesar Penagos wrote:


Dearest Lilyponders:
When I started with lilypond 2.6, I remember, there are two options  
in  the downloads page;

1. Install option.
2. Upgrade option.
I´m a Windows XP user, and is very hard to uninstall lilypond for the 
next  version. I like very much the experimental versions.

May be I´m doing incorrectly?
Is there a way to return to upgrade option in the installers for 
Windows  xp?

Thank You in advance




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=
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Signals, Sensors and Systems
Royal Institute of Technology
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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Has anyone extended \include?

[Rick Hansen (aka RickH)]

Thanks,

Browsing the manual GEMA looks like it could work to do both substitution
and conditional outputting, I'll try it.

Rick



Eduardo Vieira-3 wrote:
> 
> Citando "Rick Hansen (aka RickH)" <[EMAIL PROTECTED]>:
> 
>>
>>
>> If you have done this can you share it or sell it to me?  (please dont
>> suggest m4, I gave up on that monster)
>>
>> Thanks
>>
> 
> Hi, Rick! Yes, this preprocessor looks scary, as well as some advanced
> programming with Scheme. But once I got into reading about the GEMA
> preprocessor and didn't look as complicated as m4. Maybe it's worth a try.
> Another thing I found out that is *really* useful with text editing,
> manipulating: Learn Regular Expressions. You can do quite a few tricky
> search
> and replace tasks. And most of text editors for programmers support them.
> 
> Eduardo
> ___
> Neste Fim de Ano, interurbano para cidades próximas ou distantes é com o 
> 21.
> A Embratel tem tarifas muito baratas de presente para você ligar para quem
> você gosta e economizar. Faz um 21 e aproveite.
> 
> 
> 
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> 

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View this message in context: 
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Re: problems compiling 2.10.2 and 2.10.3

[luis jure]

El Thu, 21 Dec 2006 16:50:00 -0600
Quentin Spencer <[EMAIL PROTECTED]> escribió:


> I found this problem in my attempt to upgrade the lilypond available 
> with Fedora 5 to 2.10.2. It seems there was a change in the configure 
> script between 2.10.0 and 2.10.1.

yes, i also diff'ed the files and noted a different use of sed and
grep in many places, not sure what's the effect of it.

anyway, there's a new gentoo ebuild for lilypond-2.10.4 that compiles
all right. so i have the newest stable version up and running...


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Re: Constructive Criticism and a Question

[Brett Duncan]

Jonathan Henkelman wrote:

 Han-Wen Nienhuys  lilypond.org> writes:

>> If we are going to worry about seperating the music from the
>> typesetting,
 then
>> it is worth observing that these two are equivalent musically.
>> It doesn't
> No, they aren't. The stresses fall in different places.  In bottom
> example,
 the stress is
> on the 2nd 8th note.
>

 True enough, but it will also depend on the time signature.
 However, we still need to have a default and it seems deciding based
 on the value of the first note is as reasonable a guess as any.  It
 can always be overriden by an experienced user.


I respectfully disagree. In a lot of the music you will see rhythms like

|--3--| |--3--|
|  |\   |  |\
|  ||  |
X  XX  X

but your suggestion of basing the tuplet span on the first note would 
generate


|--3--|
|  |\   |  |\
|  ||  |
X  XX  X

which implies a different emphasis. I would not like to see this as a 
default.


Han-Wen Nienhuys wrote

 \tuplet 6:4 2. { .. } is a lot of numbers. Not very readable IMO.


No argument here - I wasn't advocating a specific syntax, but simply 
raising the possibility that the tuplet's span could be an argument of 
the function. Otherwise, we're simply turning \times into \tuplet 
without really changing anything about its functionality.


My $0.02

Brett
--
Brett Duncan [EMAIL PROTECTED]

"opinio tam stulta non est quam philosophus quidam exprimere non possit"
(there is no opinion so absurd that some philosopher will not express it)

Marcus Tullius Cicero (106 BC-43 BC)


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Re: Two-Pass Vertical Spacing

[William Oram]

On Dec 22, 2006, at 4.00 PM, [EMAIL PROTECTED] wrote:

Message: 1
Date: Fri, 22 Dec 2006 21:37:41 +0100
From: Nicolas Sceaux <[EMAIL PROTECTED]>
Subject: Re: Two-Pass Vertical Spacing
To: William Oram <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=us-ascii

William Oram <[EMAIL PROTECTED]> writes:

I've been toying with two-pass vertical spacing. Pretty neat, and
exactly what I need. A couple questions:

1) Is it *supposed* to force each system onto a separate page?

No. The purpose of two pass spacing is to have the same page breaks, but
with bigger systems, that is less space between systems.

Well, naturally, some systems are too big to accomodate anything else on
the same page. These are the ones that are properly respaced. The point
I'm trying to make is that systems small enough to allow others on the
same page a) are given their own page regardless, and b) not respaced at
all.

2) This seems to be something that can't be applied across a \book {} of
scores. I suppose with a little work a book could be broken into
individual scores, processed separately, then merged together with
LaTeX. But \book was invented to avoid that old mess, no?

Two-pass spacing works on several score books -- it was written for
that. By the way, are you sure you need to explicitely use \book?

Maybe you could send the ly file with the score definitions (that is,
the \score blocks, but without the notes), to see if you're using it the
right way.

Given the zillion movements bundled together in this project, I assure
you \book is wise. ;) But this I did figure out, and multiple movements
are respaced. I didn't expect this given my perusal and brief (miscoded)
trial of T-PVS' syntax -- it seemed like a one-movement-only toy.

Problem 1) still remains, but turning it into a rest-only sample for bug
killing purposes (granted it is a bug) is a good idea. If anyone
associated with development/Google Code wants to file this, I'll get to
making such a sample right quick.

Yours very truly &c.,

I have to smile and remember
when you accuse me of that smell
--
   _   |  WILL ORAM
ASCII ribbon campaign ( )  |  spamguy (at) foxchange . com
 - against HTML email  X   |  wro1 (at) cwru . edu
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   |  AIM spamguy21
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(ABOVE: Magnetic poetry #3)



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Re: Constructive Criticism and a Question

[Frédéric Chiasson]

Might it be possible to use

\tuplet 3:2 {x x x}

for the usual operation, and if we want to have many tuplets of the same
kind, to use

\tuplet 3:2 { {x x x} {y y y} {z z z} }

Might resolve the clarity problems.


Frédéric



2006/12/22, Han-Wen Nienhuys <[EMAIL PROTECTED]>:


[EMAIL PROTECTED] escreveu:

> Since the duration would be the second of three arguments, it could not
be
> optional, but that's not a problem.
>
> I think (?) this would have the side effect that \tuplet 3:2 2. would
> be the same as \tuplet 6:4 2. or \tuplet 9:6 2., which would mean
> that it would always be OK (even if not required) to express the ratio
> in reduced form (3:2 here).

1. We want to cut back on optional constructs

2. \tuplet 6:4 2. { .. }  is a lot of numbers. Not very readable IMO.

--

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

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



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Two notes per syllable and two syllables per note

[Pierre Abbat]

I'm trying to write a hymn in Spanish. Sometimes there are two syllables on 
one note (not uncommon in hymns in Spanish, usually two vowels come together) 
and there are some pairs of notes which take two syllables in some verses and 
one in others. I tried putting numbers after the syllables, but it didn't 
work. How can I make it work?

phma
\header {
title="Eterno Señor"
}
%\paper {
%  #(define dump-extents #t)
%  
%  indent = 0\mm
%  line-width = 160\mm
%  ragged-right = ##t
%}
\version "2.6.3"
\layout {
  
}
\midi {
}
\relative c'
{
<<
  \new ChordNames 
  {\set ChordNames.chordChanges=##t
  \chordmode {\partial 8 g8 | g4  c4g2 | g4 d4   g2 |
   g2   d2| c2 g2 |
   g4 c4 g2 | g4 d4 g2 | 
   e2:m a2:m | g4 d4 g4. }}
  \new Staff 
  {\key g \major
\partial 8 d8 | g8.( fis16) g8 e8 d4. d8 | g4 fis4 g2 |
  g4 g8 g8 fis4. fis8 | e8( fis8) g8( e8) d4. d8 |
  g8.( fis16) g8 e8 d4. d8 | g4 a4 b2 |
  g4 fis8 e8 a8( b8) c8( a8) | g4 fis4 g4. }
  \addlyrics { E -- | ter4 -- no Se -- ñor, que | rei -- na -- ba |
  an -- te "de ha" -- cer la | cre -- a -- ción, " "|
  Cuan -- do sus pla -- nos | com -- ple -- tó |
  fue su re -- al pro -- | cla -- ma -- ción. }
  \addlyrics { Des -- | pués de " " la ter -- | mi -- na -- ción |
  a -- ún en glo -- ria | rei -- na -- rá Él | 
  que e " " -- ra, a -- ho -- ra es, |
  y pa -- ra  siem -- pre du -- ra -- rá. }
  \addlyrics { " " | U -- ni -- co Rey, y sin i -- gual, |
  con po -- der y au -- to -- ri -- dad. " " |
  Sin con -- se -- je -- ro ni ri -- val, | 
  i -- ni -- cio ni ca -- du -- ci -- dad. }
  \addlyrics { Mi | vi -- vo " " Dios, mi Re -- den -- tor, |
  mi ban -- de -- ra  y re -- fu -- gio,
  mi | Ro -- ca " " en la af -- lic -- ción, |
  re -- fres -- ca me cuando lla -- mo yo. }
% Tried "cuan8 -- do8"; it does not work.
  \addlyrics { A | Él me " " doy cuan -- do duer -- mo, |
  y con Él a -- ma -- ne -- ce -- ré. " " |
  Cui -- da mi al -- "ma y" cuer -- "po tam" -- bién, |
  con -- mi -- go Dios, no te -- me -- ré. }
>>

}
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Re: Hiding empty staves

[Werner LEMBERG]

> Dear Bob, you did give me some hope. I thought that not knowing a
> thing about programming was my problem, maybe being too stupid or
> lazy to understand what should be clear to me. But I see that you
> are indeed a software developer and still can have trouble with a
> programm.

Friends, Mats and Graham both do a great job by answering almost all
help emails.  I don't even start to think about the time involved to
do that!

However, we are normally too far involved into LilyPond to recognize
some of the very basic problems.

> I am a professional musician and an experienced music teacher. I
> would even be willing to write a first chapter of a User's Guide for
> the Very Beginner.

Please go on!  Either send patches or, in case you aren't satisfied
with chapter 2, rewrite it.

> > Thanks anyway to anyone who was sincerely trying to assist me.
> > Sorry I didn't get it.

Bob, I suggest that you retry it -- with a more recent lilypond
version!  Attached is the result of this snippet (which you've already
sent to the list) processed with lilypond 2.11.4.  It seems that it
does exactly what you want.

With other words, you poor guy have stumbled on a bug in lilypond, and
the people who've tried to help you weren't aware of this.


Werner


==


\version "2.11.2"

melody = \relative c'' { c1 \break c \break c \break c }
altoMusic  = \relative c'  { \skip 1*2 e1 e }
tenorMusic = \relative c'  { \skip 1*2 g1 g }
bassMusic  = \relative c   { \skip 1*2 c1 c }
verseone   = \lyricmode{ la1 la la la }

\score {
  <<
\override Score.VerticalAxisGroup #'remove-first = ##t
\context ChoirStaff <<
  \context Staff = women <<
\context Voice = sopranos { \voiceOne << \melody >> }
\context Voice = altos{ \voiceTwo << \altoMusic >> }
  >>
  \new Lyrics { \set stanza = "1. " \verseone }
  \context Staff = men <<
\clef bass
\context Voice = tenors   { \voiceThree << \tenorMusic >> }
\context Voice = basses   { \voiceFour  << \bassMusic >> }
  >>
>>
  >>
  \layout {
\context { \RemoveEmptyStaffContext }
  }
}


bob.pdf
Description: Adobe PDF document
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Re: Constructive Criticism and a Question

[Paul Scott]

Frédéric Chiasson wrote:

Might it be possible to use

\tuplet 3:2 {x x x}

for the usual operation, and if we want to have many tuplets of the 
same kind, to use


\tuplet 3:2 { {x x x} {y y y} {z z z} }

Might resolve the clarity problems.

That sounds like a great idea!  (or some similar syntax).

Paul Scott



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Re: My first define-music-function, I'm trying, need help

[Paul Scott]

Geoff Horton wrote:

I was afraid of this kind of answer, if define-music-function cant do
something as simple as replace one note on a \transpose without 
writing a

whole bunch of code... I'm not going to bother with it myself.  Too much
complexity, I'd rather look for something that will let me stay on a
user-level, I just dont have time for programming.


I've been using m4 myself. The devs seem strongly resistant to the
idea of a built-in preprocessor.
I certainly agree with the "dev"s on not reinventing the wheel 
(preprocessors) but maybe a simple compromise would be a command line 
option that invoked the preprocessor of our choice.  OTOH anyone capable 
of setting up the preprocessor commands could probably write the simple 
script to cause the preprocessor to be invoked followed by a call to Lily.


Paul Scott



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Re: Two-Pass Vertical Spacing

[Joe Neeman]

On 12/22/06, William Oram <[EMAIL PROTECTED]> wrote:


I've been toying with two-pass vertical spacing. Pretty neat, and
exactly what I need. A couple questions:

1) Is it *supposed* to force each system onto a separate page? That
seems to be what it's doing: splitting pages with multiple systems. I'd
be OK with this, aside from the smaller systems filled with tons of
white space. Unfortunately, after giving systems their own pages, a
vertical respacing isn't performed on them. In short, only pages that
could fit one system anyway are properly respaced.



This is almost certainly because the height-estimation routines are
overestimating the height of the systems prior to page breaking on the
second pass. Can you try it (perhaps just the first couple of pages) with
annotate-spacing = ##t to check? If the Y-extent-estimate interval is much
larger than the Y-extent interval, this is the problem.

Also, what version are you using?
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