Re: TupletBracket behaviour

[Vivian Barty-Taylor]

Dear Mats,
I'm using 2.10.12 for Mac OSX.
Please find attached .ly file and PDF (in case your Lilypond does something 
different.) The "problem" only occurs in tuplets where the first note is 
shorter than the second and with values of #'shortest-duration-space less than 
1.1 (the TupletBracket doesn't print).

I'll experiment with the minimum-length property you mention.

Many thanks,

Vivian.

- Original Message 
From: Mats Bengtsson <[EMAIL PROTECTED]>
To: Vivian Barty-Taylor <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org
Sent: Tuesday, 30 January, 2007 9:00:30 PM
Subject: Re: TupletBracket behaviour

I've never seen this happen and I couldn't construct an
example myself where it happened. I hope you are aware
of the fact that no tuplet bracket is printed by default if
there's a beam of the same length, but from your description
it seems fairly clear that this is not the problem here.

If you can make up a small example that illustrates the problem,
it will be much easier to figure out a solution. There is a property
minimum-length that's listed if you click on the spanner-interface
link but it doesn't seem to work for TupletBracket objects.

   /Mats

Vivian Barty-Taylor wrote:

> When the size of a TupletBracket gets too small, it disappears leaving 
> just the TupletNumber. While I can see that this might be attractive 
> in some circumstances I would like to switch it off (so the 
> TupletBracket always prints.) Is there a way to do this? At the 
> moment, I'm putting small increases in horizontal spacing into my 
> score each time this happens, but this is very fiddly. There must be a 
> neater way.
>
> I've searched through the properties for TupletBracket but am honestly 
> a bit lost.
>
> Many thanks,
> Vivian.
>
> 
> New Yahoo! Mail is the ultimate force in competitive emailing. Find 
> out more at the Yahoo! Mail Championships 
> .
>  
> Plus: play games and win prizes.
>
>
>
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>


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=
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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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TupletBracket.pdf
Description: Adobe PDF document


TupletBracket.ly
Description: Binary data
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Re: Controlling vertical spacing exactly - mini HOWTO

[Joe Neeman]

Hi Graham & Max (and everyone),

I've been reading through chapter 11 on vertical spacing and getting
some vertical spacing examples ready for the manual.

And on reflection I think I've now figured out why it's been tricky
for me to get a good conceptual handle on vertical spacing. So I'd
like to bounce two ideas off of you guys and see if the way that I'm
thinking about the problem makes sense.

1. First, it seems that there are two *different* models for
controlling vertical spacing, which we might term "permissive" and
"strict", respectively. The first model corresponds roughly to chapers
11.3.1 and 11.3.3, and concerns overrides to VerticalAxisGroup and
settings in the paper block like


Yes, I think this is a good way of explaining it.


And an interesting
characteristic of this way of tweaking vertical spacing is that -- I
think -- you can *not* cause staves or systems to *overlap*. And this
relates to the primary disadvantage of using VerticalAxisGroup
overrides (and paper and margin adjustments) to control vertical
spacing: it can sometimes seem frustratingly difficult to draw staves
or systems close enough together.[1]


In the 2.11 branch, systems will interleave with one another so you
will get tighter vertical spacing. However, you cannot make them
overlap in the sense that things will print on top of each other. Note
that overriding Y-extent (as suggested by someone further down in the
thread) will no longer work.


Second major concept running through the vertical spacing stuff is the
PianoStaff / nonPianoStaff dichotomy.

There's another thread active right now on the topic of whether
PianoStaff really needs to be special with regards to vertical spacing
at all. But for now PianoStaff is special with regards to vertical
spacing. This complicates the vertical spacing docs simply because
PianoStaff overrides introduce a new set of properties, viz 11.3.2 and
11.3.4:

\override VerticalAlignment #'forced-distance = #7


This will be removed in 2.11



   \overrideProperty
   #"Score.NonMusicalPaperColumn"
   #'line-break-system-details
   #'((fixed-alignment-extra-space . 15))


as will this. In addition (I think it was mentioned somewhere in this
thread), two Staves inside a PianoStaff will be treated as _two_
staves for the purposes of line-break-system-details instead of one as
they are currently.


If we do like this way of thinking about vertical spacing then I'll
probably reorganize chapter 11 into three parts (permissive, strict,
two-pass); the section on permissive vertical spacing will cover
nonPianoStaff syntax first and then PianoStaff staff syntax second, as
will the section on strict vertical spacing.


Two-pass spacing will hopefully be going away soon, too. We can do
these things in one-pass now. I can't tell you exactly when it will be
done, but the main tweaking property (a permissive property) will be
Score.VerticalAlignment #'max-stretch. You can set it to zero if you
want a system to be tightly spaced or to a large number if you want
the system to be spaced so that it fills the page. Note that the
stretching is done after page-breaking, so it won't make you use up
any extra pages.


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Re: Glissando notation?

[Vivian Barty-Taylor]

Dear Robert,
I've seen a number of glissando notations, generally depending on period and 
style of composition. I know the notation you want, though, and would suggest 
experimenting with the #'thickness property of the Glissando object (listed 
under line-interface) with #'style set to #'zigzag . You could also try playing 
with #'zigzag-width and #'zigzag-length (listed under the 
line-spanner-interface.)

Hope this helps,

Vivian.

- Original Message 
From: Robert Kennedy <[EMAIL PROTECTED]>
To: lilypond-user@gnu.org
Sent: Wednesday, 31 January, 2007 6:39:10 AM
Subject: Glissando notation?

It seems in Lilypond (v2.10.14) the default notation for glissandos is
a straight line. I've never seen that notation used for glissando
before so I have no idea why it's the default, but that's OK because
everything can be changed, right?

So I tried "\override Glissando #'style = #'zigzag", thinking it would
give me the right thing. But it gives me a very thin, light zig-zag
line -- yet another notation that I have never seen used for
glissando.

The most common, correct notation for glissando looks like a trill
mark. It's a wavy line of varying thickness.

A statement in the on-line reference documentation suggests that
"\override Glissando #'style = #'trill" might help:

http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/line_002dspanner_002dinterface#line_002dspanner_002dinterface

But unfortunately it doesn't work. I still get a light, straight
line. How do I get correct glissando notation?

-- Robert

P.S. I really *love* the output I get from Lilypond but even (dare I
say it?) Finale gets this particular piece of notation more or less
right.


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Re: TupletBracket behaviour

[Mats Bengtsson]

Looking at the implementation, it turns out that the check to see if the 
bracket
should be printed compares the width of the bracket with the width of 
the number.

So, one ugly workaround to get the bracket printed is to do
\override TupletNumber #'X-extent = #'(0 . 0)
but the disadvantage is that the bracket will then run into the number.

  /Mats

Vivian Barty-Taylor wrote:

Dear Mats,
I'm using 2.10.12 for Mac OSX.
Please find attached .ly file and PDF (in case your Lilypond does 
something different.) The "problem" only occurs in tuplets where the 
first note is shorter than the second and with values of 
#'shortest-duration-space less than 1.1 (the TupletBracket doesn't print).


I'll experiment with the minimum-length property you mention.

Many thanks,

Vivian.

- Original Message 
From: Mats Bengtsson <[EMAIL PROTECTED]>
To: Vivian Barty-Taylor <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org
Sent: Tuesday, 30 January, 2007 9:00:30 PM
Subject: Re: TupletBracket behaviour

I've never seen this happen and I couldn't construct an
example myself where it happened. I hope you are aware
of the fact that no tuplet bracket is printed by default if
there's a beam of the same length, but from your description
it seems fairly clear that this is not the problem here.

If you can make up a small example that illustrates the problem,
it will be much easier to figure out a solution. There is a property
minimum-length that's listed if you click on the spanner-interface
link but it doesn't seem to work for TupletBracket objects.

   /Mats

Vivian Barty-Taylor wrote:

> When the size of a TupletBracket gets too small, it disappears leaving
> just the TupletNumber. While I can see that this might be attractive
> in some circumstances I would like to switch it off (so the
> TupletBracket always prints.) Is there a way to do this? At the
> moment, I'm putting small increases in horizontal spacing into my
> score each time this happens, but this is very fiddly. There must be a
> neater way.
>
> I've searched through the properties for TupletBracket but am honestly
> a bit lost.
>
> Many thanks,
> Vivian.
>
> 
> New Yahoo! Mail is the ultimate force in competitive emailing. Find
> out more at the Yahoo! Mail Championships
> 
. 


> Plus: play games and win prizes.
>
>
>
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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]
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Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: TupletBracket behaviour

[Vivian Barty-Taylor]

Dear Mats and other,
As we would say in Dutch, "dat valt mee" - roughly translated as "that could be 
worse"! I can always change the X-extent of the TupletNumber at different 
points in the score, and it's going to be a lot less work than making minute 
changes in spacing every time it occurs.
All the best,
Vivian.

- Original Message 
From: Mats Bengtsson <[EMAIL PROTECTED]>
To: Vivian Barty-Taylor <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org
Sent: Wednesday, 31 January, 2007 9:58:34 AM
Subject: Re: TupletBracket behaviour

Looking at the implementation, it turns out that the check to see if the 
bracket
should be printed compares the width of the bracket with the width of 
the number.
So, one ugly workaround to get the bracket printed is to do
\override TupletNumber #'X-extent = #'(0 . 0)
but the disadvantage is that the bracket will then run into the number.

   /Mats

Vivian Barty-Taylor wrote:
> Dear Mats,
> I'm using 2.10.12 for Mac OSX.
> Please find attached .ly file and PDF (in case your Lilypond does 
> something different.) The "problem" only occurs in tuplets where the 
> first note is shorter than the second and with values of 
> #'shortest-duration-space less than 1.1 (the TupletBracket doesn't print).
>
> I'll experiment with the minimum-length property you mention.
>
> Many thanks,
>
> Vivian.
>
> - Original Message 
> From: Mats Bengtsson <[EMAIL PROTECTED]>
> To: Vivian Barty-Taylor <[EMAIL PROTECTED]>
> Cc: lilypond-user@gnu.org
> Sent: Tuesday, 30 January, 2007 9:00:30 PM
> Subject: Re: TupletBracket behaviour
>
> I've never seen this happen and I couldn't construct an
> example myself where it happened. I hope you are aware
> of the fact that no tuplet bracket is printed by default if
> there's a beam of the same length, but from your description
> it seems fairly clear that this is not the problem here.
>
> If you can make up a small example that illustrates the problem,
> it will be much easier to figure out a solution. There is a property
> minimum-length that's listed if you click on the spanner-interface
> link but it doesn't seem to work for TupletBracket objects.
>
>/Mats
>
> Vivian Barty-Taylor wrote:
>
> > When the size of a TupletBracket gets too small, it disappears leaving
> > just the TupletNumber. While I can see that this might be attractive
> > in some circumstances I would like to switch it off (so the
> > TupletBracket always prints.) Is there a way to do this? At the
> > moment, I'm putting small increases in horizontal spacing into my
> > score each time this happens, but this is very fiddly. There must be a
> > neater way.
> >
> > I've searched through the properties for TupletBracket but am honestly
> > a bit lost.
> >
> > Many thanks,
> > Vivian.
> >
> > 
> > New Yahoo! Mail is the ultimate force in competitive emailing. Find
> > out more at the Yahoo! Mail Championships
> > 
> .
>  
>
> > Plus: play games and win prizes.
> >
> >
> >
> >___
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> >lilypond-user@gnu.org
> >http://lists.gnu.org/mailman/listinfo/lilypond-user
> >  
> >
>
>
> -- 
> =
> 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 
> =
>
>
>
> 
> New Yahoo! Mail is the ultimate force in competitive emailing. Find 
> out more at the Yahoo! Mail Championships 
> .
>  
> Plus: play games and win prizes.

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=
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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]
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Re: Making a staff take extra vertical space?

[Mats Bengtsson]

In the latest development version, this problem doesn't exist anymore
since the collision handling has been improved. Actually, the result you
get there is similar to what you get if you add
   \once \override Score.RehearsalMark #'padding = #6
before the corresponding \mark command, i.e it appears above the
chords.

  /Mats

Robert Kennedy wrote:

Without changing any other spacing, how can I make the final staff in
this lead sheet take up some extra space so the chord symbols will
move up (relative to the staff) and won't overlap the markup text?

My best idea so far is to put an invisible note somewhere (using
\transparent) at the top of the staff with its stem pointing up. But I
haven't been able to figure out how to use \stemUp; for example,
<< \stemUp f4 \stemNeutral f >>
gives me only one stem. Also, notes produced with \transparent take up
both vertical and horizontal space. I want something that takes no
horizontal space, but does take vertical space.

Thanks for any help with this!

-- Robert

   
\header{
  title = "Bouncing with Bud (Bebop in Pastel)"
  composer = "Earl Rudolph \"Bud\" Powell"
  enteredby = "Robert Kennedy"
  style = "jazz"
  tagline = ""
}

harmonies = \chordmode {
  \repeat volta 2 { bes1:maj bes1:maj b1:maj }
  \alternative { { b1:maj } { b1:maj } }
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:7.11+
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
  g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
  fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}

melody = \relative {
  \key bes \major
  % \override Glissando #'style = #'zigzag
  \override Glissando #'style = #'trill
  \override Glissando #'minimum-length = #5
  \repeat volta 2 { | \mark \markup{\bold "Intro"} r8 f bes[ f'~] f4. f,8 bes 
f'8~ f2 r4 r8 f,8 b[ f'~] f4. f,8 }
  \alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
  { \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0.5)
| \mark \markup { \box \bold "A1" } d c bes a c bes a g f d ees ges~ ges4 
f8 ees d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4 
r2 r8 ees'8
\once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box "A2" } d a r8 c r bes r d, r a' r fis g f ees d f b, 
r2 r8 f'
fis g ees c gis' a fis d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c 
f bes, r8 d f d fis g~
| \mark \markup { \box "B" } g << g4 e d bes >> << a' fis dis c >> << bes' g e d >> 
<< d'8~ bes~ g~ e~ >>
  << d'4 bes g e >> << bes'8 g e d >> << a'4 fis dis c >> << g' e d bes >> << 
d'8~ a~ g~ ees~ >>
  << d'2~ a~ g~ ees~ >> << d'8 a g ees >> d' \times 2/3 { a g ees }
  \times 2/3 { << f'8 c bes fis >> ees' << f~ c~ bes~ fis~ >> } << f'2 c bes fis >> << ees'8 
bes fis >> << cis'~ a~ e~ b~ >>
  << cis'2~ a~ e~ b~ >> << cis'8 a e b >> e' cis f,
  \times 2/3 { << ees' bes aes e >> des' << ees~ bes~ aes~ e~ >> } << ees'2 bes aes e >> << 
des'8 bes aes e >> << d'~ bes~ g~ ees~ >>
  << d' bes g ees >> << bes'~ g~ ees~ d~ >> << bes'4 g ees d >> bes'16 a 
aes g ees8 g
  << des' e, >> << c'~ ees,~ >> << c'4 ees, >> r4 r8 ees'8
| \mark \markup { \box "A3" } d c bes a c bes a g f d ees ges~ ges4 f8 ees 
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f8 
bes,
\once \override Score.RehearsalMark #'break-visibility = 
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\once \override Score.RehearsalMark #'extra-offset = #'(6 . 0)
\mark \markup { \bold "Fine" } r2. \bar "||"
\once \override Score.RehearsalMark #'extra-offset = #'(12 . 0)
| \mark \markup { \box "C" \bold "(first time only)" } c'4 c bes r8 a~ a a~ a g~ g4 r 
d' f ees r8 b~ b4 \glissando d8 c~ c4 aes8 g~ g1~ g2. b8 bes r1 r1 \bar "|."
  }
}

\layout {
  \context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
<<
  \new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space = #0
\override VoltaBracket #'extra-offset = #'( 0 . -1 )
}
{
\harmonies
}
  \new Staff \with {
voltaOnThisStaff = ##f
}
{ \melody
}
  


\version "2.10.14"
   


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Cannot generate pdf. Error "file failed (8704)"

[Rodrigo Nogueira]

Hello all,
First I would like to thank the Lilypond development/support community for
this great tool.
I installed lilypond from the cygwin packet. The lilypond version I'm using
is 2.10.7
I have the following problem. When I run the lilypond comand (no options,
just "lilypond ") I can't get to end of the command, the .pdf file is
not generated. But then, if I re-run the errored command by hand it works
fine. See the output:

$ ls test.*
test.ly

$ cat test.ly
{ a }


$ lilypond test
GNU LilyPond 2.10.7
Processing `test.ly'
Parsing...
test.ly: 0: warning: no \version statement found, please add

\version "2.10.7"

for future compatibility
Interpreting music...
Preprocessing graphical objects...
Layout output to `test.ps'...
Converting to `test.pdf'...
`gs -q  -dSAFER  -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89
-dCompatibilityLevel=1.4  -dNOPAUSE -dBATCH -r1200  -sDEVICE=pdfwrite
-sOutputFile="test.pdf" -c .setpdfwrite -f " test.ps"' failed (8704)
/usr/share/lilypond/2.10.7/ly/init.ly:41:1: error: GUILE signaled an error
for the expression beginning here
#
(if (pair? toplevel-scores)
/usr/share/lilypond/2.10.7/ly/init.ly:41:5: error: syntax error, unexpected
'(', expecting '='
#(if
(pair? toplevel-scores)
error: failed files: "test"


$ ls test.*
test.ly  test.ps


$ gs -q  -dSAFER  -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89
-dCompatibilityLevel=1.4  -dNOPAUSE -dBATCH -r1200  -sDEVICE=pdfwrite
-sOutputFile=" test.pdf" -c .setpdfwrite -f "test.ps"

$ ls test.*
test.ly  test.pdf  test.ps


Regards,

Rods
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Re: Glissando notation?

[Trevor Bača]

On 1/30/07, Robert Kennedy <[EMAIL PROTECTED]> wrote:

It seems in Lilypond (v2.10.14) the default notation for glissandos is
a straight line. I've never seen that notation used for glissando
before so I have no idea why it's the default, but that's OK because
everything can be changed, right?

So I tried "\override Glissando #'style = #'zigzag", thinking it would
give me the right thing. But it gives me a very thin, light zig-zag
line -- yet another notation that I have never seen used for
glissando.

The most common, correct notation for glissando looks like a trill
mark. It's a wavy line of varying thickness.

A statement in the on-line reference documentation suggests that
"\override Glissando #'style = #'trill" might help:


Hi Robert,

Are you looking for the notation at the top of the 2.11 NEWS file?

 http://lilypond.org/doc/v2.11/Documentation/topdocs/NEWS.html

This tests OK in 2.11.14:

%%% BEGIN %%%

\version "2.11.14"

\new Staff {
  \override Glissando #'style = #'trill
  c'4 \glissando
  g'4
}

%%% END %%%

If you're not getting what you expect, here are a couple of things to
check in your input:

1. Make sure to include the \override just before the glissando start point

2. Make sure you include the \glissando command itself between the
glissando start point and end point

3. Watch the apostrophes; Glissando (with a capital letter) is a
"grob" (or graphic object) whose style "property" gets overriden to
the value of the *string* trill. It's not always this way with all
overrides. For example, you might later wish to write

  \override Glissando #'color = #red

Here red is not a string but a constant, meaning that red takes only a
hash mark and does not take an apostrophe. (Constants in LilyPond are
happily limited to numbers, the directions up and down, and names of
colors ... for the most part.) Make sure to watch for these things as
you're learning the program and you'll save yourself some heartache
wondering why an override that was just working isn't working any
more.

Welcome to Lily, BTW. You'll wind up being amazed, as you're already
starting to see with the quality of the output. There are projects on
the list ranging from 17th-century full operas to contemporary pieces
by composers working in many countries, and there are settings --
somewhere -- to accommodate all of these.

WRT to your previous mail asking about an architectural overview, what
you're looking for doesn't truly exist yet. That said, make sure to
read chapter 3 in the manual in its entirety, especially 3.2 "How
LilyPond files work". And my list of the top 6 things I wish someone
had told me the first (or maybe second) day I started using Lily is
here for your enjoyment:

1. The heavy lifting of the program implemented in (compiled) C++ code
with tweaks being made in (interpreted, dynamic) Scheme code.
Capitalized names in lily input generally refer to the C++ guts while
other properties in overrides talk directly to the Scheme code. Beyond
that, you never need to think about the division of labor between the
compiled and interpreted parts of the program, even though parts of
the docs and the archives might make you think otherwise.

2. A LilyPond "context" is, intuitively, a horizontal stratum of music.

3. Marking up text with markup is really a LOT more powerful (and
complicated) than you would think from your experience with any other
programs (except possibly LaTeX). There's a reason that something as
straightforward as text is placed in the "Advanced" section of our
manual. In practice this doesn't wind up being a problem, but make
*sure* to allow yourself some time to read the manual the morning that
you decide to go sprinkle text indications all over your first score.

4. \relative works great for music of the common practice; if you've
got a lot of disjunct intervals in your own music, avoid \relative
completely. Likewise, instantiate context explicitly with \new Staff
or \new Score or \new Voice or whatever. This is probably a religious
issue, but I never input a naked expression into a file ... Lily wraps
up naked expressions inside of a contexts for you, so why not just
instantiate explicitly yourself?

5. *ALL* the duration stuff works, no matter whether you're wanting
15th-century, 19-century or 21st-century rhythms. But learn about the
multiplication * operator for spacing tweaks.

6. And, possibly the most important thing, keep a copy of the LilyPond
equivalent of test.c (or test.py or whatever), open with you the
entire time you're working. For me this file is

 \version "2.11.14"

 \new Staff {
 c'4
 }

That one testfile right there is a good enough starting point to test
well over 90% of all the tweaks you'll ever want to test. Keep it
handy and get used to flipping over to test out things in the middle
of doing your note input.

Enjoy.

--
Trevor Bača
[EMAIL PROTECTED]
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Re: Documentation: Software architecture overview and details?

[Han-Wen Nienhuys]

Robert Kennedy escreveu:

> There is lots of reference material on the individual interfaces and
> objects, but I haven't found any explanation of what those things
> actually are. Are they basic constructs that any scheme programmer
> would instantly recognize? I am an experienced LISP programmer and an
> experienced object-oriented programmer (C++, Python, Perl), so Scheme
> and object orientation are not completely foreign to me. But I don't
> have any clue about these aspects of Lilypond. The documentation gives

Your best bet would be Erik's master's thesis. See 

  http://lilypond.org/web/about/pubs 

-- 

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

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



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Re: Glissando notation?

[Han-Wen Nienhuys]

Trevor Bača escreveu:
> 1. The heavy lifting of the program implemented in (compiled) C++ code
> with tweaks being made in (interpreted, dynamic) Scheme code.
> Capitalized names in lily input generally refer to the C++ guts while
> other properties in overrides talk directly to the Scheme code. Beyond

do you mean \consists "Foo_engraver" ?

It might make sense to mangle those names, so we have uniform, 
scheme style naming for that too.

-- 

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

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



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Re: Documentation: Software architecture overview and details?

[Jonathan Henkelman]

Robert 

> I think most of my struggle is because I haven't found a document that
> explains the flow of information through Lilypond. 

> There is lots of reference material on the individual interfaces and
> objects, but I haven't found any explanation of what those things
> actually are. 

If such information exists, I havn't found it yet (I am experience in C/C++ as 
well as other languages, but only have brief LISP experience).  In fact, I 
have been chewing over the idea of trying to contribute something.  Graham has 
suggested that it be done by editing/expanding existing chapters (esp. Ch. 9) 
in the manual which I think is good advice.  

1) I envison something that outlines the flow of information from the input 
file to the output.  
2) It would also need to have a section outlining the various components and 
objects touched along the way. (e.g. engravers, events, objects, properties, 
interfaces, grobs, translators (trans. props), layout object)
3) I think it would be useful if the section outlining how to extract 
information from the programmers docs was clarified and expanded. (so far I 
have found that just going in and mucking around until I find the relevent 
info works, but it is far from fail safe and I surely don't feel like I know 
what I am doing).

The catch is that I don't understand LP well enough, so I had thought that if 
I ever got to it, I would solicit the help of the 'wizards' to briefly explain 
things, then I would try and learn from that base and write up something in 
plain english.  We'll see how time allows, but certainly not before March...

On the other hand, this is a major bottle neck on the learning curve for new 
LP users.  I wonder about trying to streamline and standardize the coding 
format and syntax, (lexicon?) which would make some of this go away. But that 
is a bigger job and I expect there would be more (justifiable) resistance from 
people that have learned it and don't want to relearn something else. (e.g. 
the subtle difference between override, tweak, set, outputProperty, different 
syntax inside/outside a layout block, are more or less still opaque to me, but 
I'll get it in time).

Good luck and post here if you find what you are looking for.

Jonathan



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Re: Glissando notation?

[Trevor Bača]

On 1/31/07, Han-Wen Nienhuys <[EMAIL PROTECTED]> wrote:

Trevor Bača escreveu:
> 1. The heavy lifting of the program implemented in (compiled) C++ code
> with tweaks being made in (interpreted, dynamic) Scheme code.
> Capitalized names in lily input generally refer to the C++ guts while
> other properties in overrides talk directly to the Scheme code. Beyond

do you mean \consists "Foo_engraver" ?


Yup.


It might make sense to mangle those names, so we have uniform,
scheme style naming for that too.


Agreed.


--
Trevor Bača
[EMAIL PROTECTED]
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Re: Making a staff take extra vertical space?

[Robert Kennedy]

> In the latest development version, this problem doesn't exist anymore
> since the collision handling has been improved. Actually, the result you
> get there is similar to what you get if you add
> \once \override Score.RehearsalMark #'padding = #6
> before the corresponding \mark command, i.e it appears above the
> chords.

Thanks for the information! I wonder, though, how I can get it to
appear *below* the chords, which is not how lead sheets are often
done, but I think it might be better in some situations.

-- Robert


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Re: automatic bar marks possible for ie, 28/4 ?

[Hans Aberg]

On 30 Jan 2007, at 15:29, Adam Good wrote:

Well honestly I'm confused by what you mean, I've not heard the  
term "subaccenting" before.


For example, take a simple 2/4-time, the first 1/4 note should have a  
primary accent, and the second 1/4 note, a secondary accent. In  
general, a measure bar indicates that the note following should have  
a primary accent.


You can see some more complex examples at
  http://en.wikipedia.org/wiki/Bulgarian_dances


I can show you exactly what I'm going for here:
http://www.adamgood.com/turkish_nota/piece.php?id=596


If this is the notation of the composer, you perhaps must follow it.  
But it could also be the notation of somebody else.


Hindemith, "Elementary Training for Musicians", p. 136, suggests that  
one may use a dashed barline, like  U+1d104

  http://www.unicode.org/charts/PDF/U1D100.pdf

note time sig of 28/4 where barlines are drawn every 6, 4, 4, 6, 4,  
4  beats. simply, the structure of the rhythm is broken up into  
these groupings...percussionist plays for this cycle the well-known  
pattern (known as "Devr-i Kebir") that is set in stone and can be  
thought of "a bar of 6, a bar of 4, a bar of 4...etc = 28"


thanks for any ideas you can give me


So if this is the traditional way to notate it, you perhaps must  
follow it (I am not familiar with the rhythm). But it can also be  
written as 6/4 + 4/4 + 4/4, using those dotted barlines, then.  
Strictly speaking, I think this latter notation implies that the two  
4/4 should start with an accent weaker than the 6/4. But if this is a  
regular meter pattern, this may be how it is actually performed (I  
would have to listen to a performance to know).


I include an example for a Sedi Donka, which is written in (7+7+11)/ 
16, where 7=3+2+2, and 11=2+2+3+2+2 or 4 +3+4.


  Hans Aberg


 SediDonka.ly 
%{
LilyPond Test
%}

%{
\paper {
  #(define dump-extents #t)

  linewidth = 160\mm - 2.0 * 0.4\in
  raggedright = ##t
  indent = 0\mm
}

\layout {

}
%}


\header{
  title = "Sedi Donka (Horo)"
  composer = "Traditional"
}

  barlines = { \repeat unfold 8 {s16*7 \bar ":" s16*7 \bar ":"  
s16*11 | } }


\score {
\new Staff <<
  \barlines
\relative {
  \tempo 4 = 144
  \key e \minor
  \time 25/16
  #(override-auto-beam-setting '(end * * 25 16)  3 16)
  #(override-auto-beam-setting '(end * * 25 16)  7 16)
  #(override-auto-beam-setting '(end * * 25 16) 10 16)
  #(override-auto-beam-setting '(end * * 25 16) 14 16)
  #(override-auto-beam-setting '(end * * 25 16) 18 16)
  #(override-auto-beam-setting '(end * * 25 16) 21 16)
  \repeat volta 2 {
g'16( fis g)  a8\prall a16( d,)   g16( fis g)  a8\prall a16( d,)
  fis16( g a b)  c( b d)  c8\prall c16( b) |
g16( fis g)  a8\prall a16( d,)   g16( fis g)  a8\prall a16( d,)
  c'16( a) b( g)   a8\prall( d16)  a8 a |
  }
  \repeat volta 2 {
g16( a b)  c( g) d'( g,)   c8\prall( g16)  c( g) d'( g,)
  b16( g) (b g)  a8.  \acciaccatura  c d4 |
g,16( a b)  c( g) d'( g,)   c8\prall( g16)  c( g) d'( g,)
  b16( a) b( g)  a8\prall( d16)  a8 a |
  }
  \repeat volta 2 {
a16( b) b  b8 b   a16( b) b  b8 b
  a16( g fis g)  a( b e,)  b'4 |
a16( b) b  b8 b   a16( b) b  b8 b
  a16( g fis g)  e8.  e4 |
  }
  \repeat volta 2 {
d16( e fis)  g8 g   g16( fis e)  fis8 fis
  d8 d  \acciaccatura g a8.  a4 |
d,16( e fis)  g8 g   g16( fis e)  fis8 fis
  d8 e  e8.  e4 |
  }
}
%{
\chords {
  b4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7
  a4:7 b8.:7  a4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7 }
%}
>>



}

\version "2.7.2"  % necessary for upgrading to future LilyPond versions.





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Re: Glissando notation?

[Tim Reeves]

In my experience, having played a number of pieces with glissandi, "rips" 
to us horn players, the straight line notation is quite common. I've seen 
both.

I input some pieces with glissandi and tried the zigzag option but it 
didn't look right to me, as I'm not used to to seeing it done that way, so 
I went back to the default.
If I had seen the trill option, and I had tried it and it worked, I might 
have left it in, but the straight line option is OK.




Tim Reeves


> Message: 4
> Date: Tue, 30 Jan 2007 21:39:10 -0800
> From: Robert Kennedy <[EMAIL PROTECTED]>
> Subject: Glissando notation?
> To: lilypond-user@gnu.org
> Message-ID: <[EMAIL PROTECTED]>
> 
> It seems in Lilypond (v2.10.14) the default notation for glissandos is
> a straight line. I've never seen that notation used for glissando
> before so I have no idea why it's the default, but that's OK because
> everything can be changed, right?
> 
> So I tried "\override Glissando #'style = #'zigzag", thinking it would
> give me the right thing. But it gives me a very thin, light zig-zag
> line -- yet another notation that I have never seen used for
> glissando.
> 
> The most common, correct notation for glissando looks like a trill
> mark. It's a wavy line of varying thickness.
> 
> A statement in the on-line reference documentation suggests that
> "\override Glissando #'style = #'trill" might help:
> 
> http://lilypond.org/doc/v2.10/Documentation/user/lilypond-
> internals/line_002dspanner_002dinterface#line_002dspanner_002dinterface
> 
> But unfortunately it doesn't work. I still get a light, straight
> line. How do I get correct glissando notation?
> 
>-- Robert
> 
> P.S. I really *love* the output I get from Lilypond but even (dare I
> say it?) Finale gets this particular piece of notation more or less
> right.
> 
> 
> 
> 
> --
> 
> Message: 5
> Date: Tue, 30 Jan 2007 23:52:56 -0600
> From: "Daniel Tonda" <[EMAIL PROTECTED]>
> Subject: Re: Guitar fingering and string numbers
> To: [EMAIL PROTECTED]
> Cc: lilypond-user@gnu.org
> Message-ID:
><[EMAIL PROTECTED]>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> 
> Hi, from a fellow guitarist!
> 
> 
> 2007/1/30, Martin Nopola <[EMAIL PROTECTED]>:
> >
> > \version "2.8.8"   on Suse Linux 10
> >
> > I have been making beautiful copies of classical guitar music for
> > my 8 string guitar. Everything works fine as long as I can copy
> > a template such as
> > \set Score.skipTypesetting = ##t
> >  s4*8
> >
> > And this works for string number spacing if I enter them as text
> > \once \override TextScript #'staff-padding = #3.0
> >   b4^"2" e a2-3
> > But the numbers are twice as large as default string numbers.
> >
> > However, when I try changing variables on my own nothing works.
> > This is one of my numerous failures
> > \once \override StringNumberOrientations #' Stringnumber = down
> >   4-1 fis e 
> For fingerings and such I always put them between brackets:
> 
> 4 fis e  %...
> 
> If the fingering is outside the brackets, the fingering orientations
> may not work properly.
> >
> > How do I set
> > fingeringOrientation (up,down,left.right)
> 
> \set fingeringOrientations = #'(left)
> 
> > StringNumberOrientations (up, down)
> \set stringNumberOrientation = #'(up)
> > StringNumber #'staff-padding = #2.0
> 
> \override StringNumber #'padding = #2.0
> 
> > fingerNumber #'staff-padding
> >
> > Someday this will all make sense.
> >
> > Marty
> >
> 
> This is an idea that may work for you.
> 
> I have a settings file where I define certain items, such as fingering
> positions, string number positions, etc, and I include it in every
> guitar-oriented score I typeset.
> 
> for example:
> 
> rhu = { \set strokeFingerOrientation = #'(up) }
> rhd = { \set strokeFingerOrientation = #'(down) }
> rhuonce = { \once \set strokeFingerOrientation = #'(up) }
> % ...etc
> 
> I include it in the new ly score, such as:
> 
> \version "2.11.14"
> 
> \include "/home/danton67/lib/ly/mydefs.ly"
> 
> % Whenever I need an upward stroke fingering overall I just put:
> \rhu
> 
> % If i only need it occassionally, I just put:
> \rhuonce
> 
> If you're interested in the "library", ask and I'll send it to your
> mail. So as not to burden the list.
> 
> >
> 
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> 
> 
> -- 
> Daniel Tonda C.
> 
> 
> 
> 
> --
> 
> Message: 6
> Date: Tue, 30 Jan 2007 21:55:04 -0800
> From: Robert Kennedy <[EMAIL PROTECTED]>
> Subject: Documentation: Software architecture overview and details?
> To: lilypond-user@gnu.org
> Message-ID: <[EMAIL PROTECTED]>
> 
> I am a beginner at Lilypond, and I like it very much, but I am
> struggling to understand how to use it. In this e-mail I am going to
> ask for pointers to some documentation. I realize that some of it
> might not exist -- I am familiar with how open sou

Re: Glissando notation?

[Robert Kennedy]

> In my experience, having played a number of pieces with glissandi, "rips" 
> to us horn players, the straight line notation is quite common. I've seen 
> both.

Thanks for your input on this. I have seen the straight-line option in
horn charts, but only in handwritten ones. Most horn charts (even
handwritten ones) use a wavy line in my experience. The straight line
looks too much like a tremolo or something unknown to me as a piano
player. I've never seen an engraved piano score use that notation.

> I input some pieces with glissandi and tried the zigzag option but it 
> didn't look right to me, as I'm not used to to seeing it done that way, so 
> I went back to the default.

Yeah, I prefer the straight-line option over the zigzag, too.

Many thanks again!

-- Robert


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markup too long?

[philippe hezaine]

Hi list,
version 2.10.14
With the example below, you can see the markup overlap  the copyright
and doesn't match the second page because it is too long. 
Somebody knows a solution? Or perhaps I want a markup too long.
 In an another case, if the markup fill up only the first page, the 
first system

doesn't appear. But in this case, if i add :
   \header{
 breakbefore = ##t
 piece = "" }
at the end of the score block, it works.
I think that I do wrong, but I can figure out an another way.


PS. Also, in the footer, I've noted that the URL are not active in the pdf.
(Evince in this case)
  Phil.

 \version "2.10.14"

 \paper { between-system-padding = #0
	ragged-bottom = ##f
	ragged-last-bottom = ##f
	first-page-number = #27
	print-first-page-number = ##t
print-page-number = ##t
	}


 
 \header {
   title = "SUPERBONUS "
   subtitle = ""
   subsubtitle = "-"
   composer = "Phil H."
   opus = ""
   instrument = ""
   copyright = "Creative Commons Attribution-ShareAlike 2.5"
 
   % These are headers used by the Mutopia Project
   % http://www.mutopiaproject.org/
   mutopiatitle = " 00 "
   mutopiacomposer = "Phil"
   mutopiaopus = ""
   mutopiainstrument = "Piano"
   date = ""
   source = ""
   style = ""
   copyright = "Creative Commons Attribution-ShareAlike 2.5"
   maintainer = "Philippe Hézaine"
   maintainerEmail = "[EMAIL PROTECTED]"
   lastupdated = "2006/Feb/11"

 footer = "Mutopia-2006/01/"

tagline =  \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-align { \fontsize #-2 \line { Sheet music from \with-url #"http://www.MutopiaProject.org"; \line { \fontsize #-3 www. \hspace #-1.0 MutopiaProject \hspace #-1.0 \fontsize #-3 .org \hspace #0.5 } • \hspace #0.5 \italic Free to download, with the \italic freedom to distribute, modify and perform. } \line { \fontsize #-2 \line { Typeset using \with-url #"http://www.LilyPond.org"; \line { \fontsize #-3 www. \hspace #-1.0 LilyPond \hspace #-1.0 \fontsize #-3 .org } by \maintainer \hspace #-1.0 . \hspace #0.5 Copyright © 2005. \hspace #0.5 Reference: \footer } } \line { \fontsize #-4 \line { Licensed under the Creative Commons Attribution-ShareAlike 2.5 License, for details see: \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/by-sa/2.5"; http://creativecommons.org/licenses/by-sa/2.5  } } } }

 }

 global = { \key f \minor
   		\time 4/4
 }

 accords = \relative c'' {
   \chords {
   aes1:6 r1 f1:7 r1 bes1:7 r1
 }
 }

 melody =  \relative c'' {
   \clef treble
  r2 c2 e2 f2 c1 g4 g4 gis2 a1 d2 fis2 g1
	}

 lyr =  \lyricmode { Sous mon ciel à né--on }

 couplettwo = \lyricmode { c'est pour le deu xième cou plet }


 upper = \relative c'' {
   \clef treble
   r2 \times 2/3 { g'8 a g } f e ees! des c bes a c, ees f

 }
 
 lower = \relative c {
   \clef bass
	r2 \times 2/3 { g'8 a g } f e ees! des c bes a c, ees f

 }
 
 dynamics = {
% \override Score.MetronomeMark #'transparent = ##t
	%\once \override DynamicText #'extra-offset = #'(0.1 . 3.5)
	%\once\override Hairpin #'extra-offset = #'(0 . 2.3)


 }

	\markup \column {
\italic { " Séquence 06 et 07." }
			" "
	"1-Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"5-Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"10-Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cinquantaine en "
	"15-Cependant, sur le parking une voiture de surveillance s'est garée. Deux hommes de la cin

Re: Making a staff take extra vertical space?

[Mats Bengtsson]

One method is to typeset the text as a text script instead of using \mark:

   | c'4^\markup { \huge \line{ \box "C" \bold "(first time only)" }}

Then it will be connected to the stave and therefore the chords
will move out of the way automatically. You already know how to move 
these things horizontally using extra-offset. However, you maybe don't 
know that you can also use

   \once \override TextScript #'self-alignment-X = #-0.8
(-1 corresponds to normal left alignment, 0 to center and +1 to right, 
but as is shown here, you can use any value in between or even outside
the range [-1,1] ). I hope you also know about the disadvantages of 
using extra-offset.


  /Mats

Quoting Robert Kennedy <[EMAIL PROTECTED]>:


In the latest development version, this problem doesn't exist anymore
since the collision handling has been improved. Actually, the result you
get there is similar to what you get if you add
\once \override Score.RehearsalMark #'padding = #6
before the corresponding \mark command, i.e it appears above the
chords.


Thanks for the information! I wonder, though, how I can get it to
appear *below* the chords, which is not how lead sheets are often
done, but I think it might be better in some situations.

-- Robert


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Re: markup too long?

[Mats Bengtsson]

As far as I understand, a \markup is treated as a single unit when it 
comes to line and page breaking, so it is up to you as a user to 
recognize this problem and manually split the \markup into several

\markup blocks (or reducing the font size or whatever is the best
solution). The second problem you mention seems like a bug, so I 
recommend you to send an short and concise example (well, as short

as it can be) to the bug-lilypond mailing list.

  /Mats

Quoting philippe hezaine <[EMAIL PROTECTED]>:


Hi list,
version 2.10.14
With the example below, you can see the markup overlap  the copyright
and doesn't match the second page because it is too long. Somebody 
knows a solution? Or perhaps I want a markup too long.
 In an another case, if the markup fill up only the first page, the 
first system

doesn't appear. But in this case, if i add :
   \header{
 breakbefore = ##t
 piece = "" }
at the end of the score block, it works.
I think that I do wrong, but I can figure out an another way.


PS. Also, in the footer, I've noted that the URL are not active in the pdf.
(Evince in this case)
  Phil.








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How to change spacing between accidentals?

[Andreas v. Heydwolff]

Hello all,

Han-Wen is doing a great job of helping a few interested people 
including me to get Lilypond do Turkish Makam music with its 9/9 
microtone steps between full notes. For those interested, "Makam" has 
several etymologies, a common shared definition is that the term Makam 
comprises the scale in which a melody is written inseparably seen 
together with the typical movement this Makam represents (e.g., start 
high, end low on a, or start in the middle, move up and then go down and 
end low on g). See more at http://en.wikipedia.org/wiki/Makam.


However, the accidentals of some of the Makams are too close together. 
Han-Wen pointed me to the list for help which I am seeking, please.


  \override Staff.AccidentalPlacement #'padding = #'5.0

with various numbers inserted had no effect so far. Any help is highly 
appreciated.


An example source file is below. As no init file is included yet in LP 
the initializations take up most of the space of this example, but some 
actual score follows far below.


Regards,

Andreas v. Heydwolff

--

\header {

  texidoc = "Makam is Turkish type of melody that uses 1/9 tone
  microtonal alterations."

   title = "accidentals too close"

}
% #(set-default-paper-size "a4")
\paper

{
  ragged-right = ##t
%   linewidth = 160 \mm

}


\version "2.11.14"


%{

Define 1/9 alterations.

%}


#(define-public KOMA 1/9)
#(define-public EKSIK 3/9)
#(define-public BAKIYE 4/9)
#(define-public KUCUK 5/9)
#(define-public BUYUKMUCENNEB 8/9)

%{

Define pitch names

%}

makamPitchNames = #`(
  (c . ,(ly:make-pitch -1 0 NATURAL))
  (d . ,(ly:make-pitch -1 1 NATURAL))
  (e . ,(ly:make-pitch -1 2 NATURAL))
  (f . ,(ly:make-pitch -1 3 NATURAL))
  (g . ,(ly:make-pitch -1 4 NATURAL))
  (a . ,(ly:make-pitch -1 5 NATURAL))
  (b . ,(ly:make-pitch -1 6 NATURAL))

  (cc . ,(ly:make-pitch -1 0 KOMA))
  (dc . ,(ly:make-pitch -1 1 KOMA))
  (ec . ,(ly:make-pitch -1 2 KOMA))
  (fc . ,(ly:make-pitch -1 3 KOMA))
  (gc . ,(ly:make-pitch -1 4 KOMA))
  (ac . ,(ly:make-pitch -1 5 KOMA))
  (bc . ,(ly:make-pitch -1 6 KOMA))

  (cb . ,(ly:make-pitch -1 0 BAKIYE))
  (db . ,(ly:make-pitch -1 1 BAKIYE))
  (eb . ,(ly:make-pitch -1 2 BAKIYE))
  (fb . ,(ly:make-pitch -1 3 BAKIYE))
  (gb . ,(ly:make-pitch -1 4 BAKIYE))
  (ab . ,(ly:make-pitch -1 5 BAKIYE))
  (bb . ,(ly:make-pitch -1 6 BAKIYE))

  (ck . ,(ly:make-pitch -1 0 KUCUK))
  (dk . ,(ly:make-pitch -1 1 KUCUK))
  (ek . ,(ly:make-pitch -1 2 KUCUK))
  (fk . ,(ly:make-pitch -1 3 KUCUK))
  (gk . ,(ly:make-pitch -1 4 KUCUK))
  (ak . ,(ly:make-pitch -1 5 KUCUK))
  (bk . ,(ly:make-pitch -1 6 KUCUK))

  (cbm . ,(ly:make-pitch -1 0 BUYUKMUCENNEB))
  (dbm . ,(ly:make-pitch -1 1 BUYUKMUCENNEB))
  (ebm . ,(ly:make-pitch -1 2 BUYUKMUCENNEB))
  (fbm . ,(ly:make-pitch -1 3 BUYUKMUCENNEB))
  (gbm . ,(ly:make-pitch -1 4 BUYUKMUCENNEB))
  (abm . ,(ly:make-pitch -1 5 BUYUKMUCENNEB))
  (bbm . ,(ly:make-pitch -1 6 BUYUKMUCENNEB))

  ;; f for flat.
  (cfc . ,(ly:make-pitch -1 0 (- KOMA)))
  (dfc . ,(ly:make-pitch -1 1 (- KOMA)))
  (efc . ,(ly:make-pitch -1 2 (- KOMA)))
  (ffc . ,(ly:make-pitch -1 3 (- KOMA)))
  (gfc . ,(ly:make-pitch -1 4 (- KOMA)))
  (afc . ,(ly:make-pitch -1 5 (- KOMA)))
  (bfc . ,(ly:make-pitch -1 6 (- KOMA)))

  (cfe . ,(ly:make-pitch -1 0 (- EKSIK)))
  (dfe . ,(ly:make-pitch -1 1 (- EKSIK)))
  (efe . ,(ly:make-pitch -1 2 (- EKSIK)))
  (ffe . ,(ly:make-pitch -1 3 (- EKSIK)))
  (gfe . ,(ly:make-pitch -1 4 (- EKSIK)))
  (afe . ,(ly:make-pitch -1 5 (- EKSIK)))
  (bfe . ,(ly:make-pitch -1 6 (- EKSIK)))

  (cfb . ,(ly:make-pitch -1 0 (- BAKIYE)))
  (dfb . ,(ly:make-pitch -1 1 (- BAKIYE)))
  (efb . ,(ly:make-pitch -1 2 (- BAKIYE)))
  (ffb . ,(ly:make-pitch -1 3 (- BAKIYE)))
  (gfb . ,(ly:make-pitch -1 4 (- BAKIYE)))
  (afb . ,(ly:make-pitch -1 5 (- BAKIYE)))
  (bfb . ,(ly:make-pitch -1 6 (- BAKIYE)))

  (cfk . ,(ly:make-pitch -1 0 (- KUCUK)))
  (dfk . ,(ly:make-pitch -1 1 (- KUCUK)))
  (efk . ,(ly:make-pitch -1 2 (- KUCUK)))
  (ffk . ,(ly:make-pitch -1 3 (- KUCUK)))
  (gfk . ,(ly:make-pitch -1 4 (- KUCUK)))
  (afk . ,(ly:make-pitch -1 5 (- KUCUK)))
  (bfk . ,(ly:make-pitch -1 6 (- KUCUK)))

  (cfbm . ,(ly:make-pitch -1 0 (- BUYUKMUCENNEB)))
  (dfbm . ,(ly:make-pitch -1 1 (- BUYUKMUCENNEB)))
  (efbm . ,(ly:make-pitch -1 2 (- BUYUKMUCENNEB)))
  (ffbm . ,(ly:make-pitch -1 3 (- BUYUKMUCENNEB)))
  (gfbm . ,(ly:make-pitch -1 4 (- BUYUKMUCENNEB)))
  (afbm . ,(ly:make-pitch -1 5 (- BUYUKMUCENNEB)))
  (bfbm . ,(ly:make-pitch -1 6 (- BUYUKMUCENNEB)))

)


%% set pitch names.
pitchnames = \makamPitchNames
#(ly:parser-set-note-names parser makamPitchNames)


makamGlyphs = #'((1 . "accidentals.doublesharp")
   (8/9 . "accidentals.sharp.slashslashslash.stemstem")
   (5/9 . "accidentals.sharp.slashslashslash.stem")
   (4/9 . "accidentals.sharp")
   (1/9 . "accidentals.sharp.slashslash.stem")
   (0 . "accidentals.natural")
   (-1/9 . "accidentals.mirroredflat")
   (-4/9 . "accidentals.flat.slash")
   (-5/18 . "accidentals.mirroredflat")
 

Mails to this list - greylisted because allegedly Windows

[Andreas v. Heydwolff]

Hi again. How come that I get a message like the one below in the queue 
upon posting to this honorable list, although the sending machines are 
definitely *not Windows*? Just curious.


Andreas


-Queue ID- --Size-- Arrival Time -Sender/Recipient---
00A82C0BF  8137 Wed Jan 31 20:50:50  [EMAIL PROTECTED]
(host mx20.gnu.org[199.232.41.8] said: 451-You seem to be a Windows 
machine. Our condolences. You're greylisted for 20 451 minutes. Come 
back later. (in reply to RCPT TO command)

)
 lilypond-user@gnu.org



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How to change spacing between accidentals?

[Andreas v. Heydwolff]

Oops, sorry, forgot to tell: dev. version 2.11.14-2
and Thunderbird crashed while sending the mail, so here it is once more:


Hello all,

Han-Wen is doing a great job of helping a few interested people
including me to get Lilypond do Turkish Makam music with its 9/9
microtone steps between full notes. For those interested, "Makam" has
several etymologies, a common shared definition is that the term Makam
comprises the scale in which a melody is written inseparably seen
together with the typical movement this Makam represents (e.g., start
high, end low on a, or start in the middle, move up and then go down and
end low on g). See more at http://en.wikipedia.org/wiki/Makam.

However, the accidentals of some of the Makams are too close together.
Han-Wen pointed me to the list for help which I am seeking, please.

  \override Staff.AccidentalPlacement #'padding = #'5.0

with various numbers inserted had no effect so far. Any help is highly
appreciated.

An example source file is below. As no init file is included yet in LP
the initializations take up most of the space of this example, but some
actual score follows far below.

Regards,

Andreas v. Heydwolff

--

\header {

  texidoc = "Makam is Turkish type of melody that uses 1/9 tone
  microtonal alterations."

   title = "accidentals too close"

}
% #(set-default-paper-size "a4")
\paper

{
  ragged-right = ##t
%   linewidth = 160 \mm

}


\version "2.11.14"


%{

Define 1/9 alterations.

%}


#(define-public KOMA 1/9)
#(define-public EKSIK 3/9)
#(define-public BAKIYE 4/9)
#(define-public KUCUK 5/9)
#(define-public BUYUKMUCENNEB 8/9)

%{

Define pitch names

%}

makamPitchNames = #`(
  (c . ,(ly:make-pitch -1 0 NATURAL))
  (d . ,(ly:make-pitch -1 1 NATURAL))
  (e . ,(ly:make-pitch -1 2 NATURAL))
  (f . ,(ly:make-pitch -1 3 NATURAL))
  (g . ,(ly:make-pitch -1 4 NATURAL))
  (a . ,(ly:make-pitch -1 5 NATURAL))
  (b . ,(ly:make-pitch -1 6 NATURAL))

  (cc . ,(ly:make-pitch -1 0 KOMA))
  (dc . ,(ly:make-pitch -1 1 KOMA))
  (ec . ,(ly:make-pitch -1 2 KOMA))
  (fc . ,(ly:make-pitch -1 3 KOMA))
  (gc . ,(ly:make-pitch -1 4 KOMA))
  (ac . ,(ly:make-pitch -1 5 KOMA))
  (bc . ,(ly:make-pitch -1 6 KOMA))

  (cb . ,(ly:make-pitch -1 0 BAKIYE))
  (db . ,(ly:make-pitch -1 1 BAKIYE))
  (eb . ,(ly:make-pitch -1 2 BAKIYE))
  (fb . ,(ly:make-pitch -1 3 BAKIYE))
  (gb . ,(ly:make-pitch -1 4 BAKIYE))
  (ab . ,(ly:make-pitch -1 5 BAKIYE))
  (bb . ,(ly:make-pitch -1 6 BAKIYE))

  (ck . ,(ly:make-pitch -1 0 KUCUK))
  (dk . ,(ly:make-pitch -1 1 KUCUK))
  (ek . ,(ly:make-pitch -1 2 KUCUK))
  (fk . ,(ly:make-pitch -1 3 KUCUK))
  (gk . ,(ly:make-pitch -1 4 KUCUK))
  (ak . ,(ly:make-pitch -1 5 KUCUK))
  (bk . ,(ly:make-pitch -1 6 KUCUK))

  (cbm . ,(ly:make-pitch -1 0 BUYUKMUCENNEB))
  (dbm . ,(ly:make-pitch -1 1 BUYUKMUCENNEB))
  (ebm . ,(ly:make-pitch -1 2 BUYUKMUCENNEB))
  (fbm . ,(ly:make-pitch -1 3 BUYUKMUCENNEB))
  (gbm . ,(ly:make-pitch -1 4 BUYUKMUCENNEB))
  (abm . ,(ly:make-pitch -1 5 BUYUKMUCENNEB))
  (bbm . ,(ly:make-pitch -1 6 BUYUKMUCENNEB))

  ;; f for flat.
  (cfc . ,(ly:make-pitch -1 0 (- KOMA)))
  (dfc . ,(ly:make-pitch -1 1 (- KOMA)))
  (efc . ,(ly:make-pitch -1 2 (- KOMA)))
  (ffc . ,(ly:make-pitch -1 3 (- KOMA)))
  (gfc . ,(ly:make-pitch -1 4 (- KOMA)))
  (afc . ,(ly:make-pitch -1 5 (- KOMA)))
  (bfc . ,(ly:make-pitch -1 6 (- KOMA)))

  (cfe . ,(ly:make-pitch -1 0 (- EKSIK)))
  (dfe . ,(ly:make-pitch -1 1 (- EKSIK)))
  (efe . ,(ly:make-pitch -1 2 (- EKSIK)))
  (ffe . ,(ly:make-pitch -1 3 (- EKSIK)))
  (gfe . ,(ly:make-pitch -1 4 (- EKSIK)))
  (afe . ,(ly:make-pitch -1 5 (- EKSIK)))
  (bfe . ,(ly:make-pitch -1 6 (- EKSIK)))

  (cfb . ,(ly:make-pitch -1 0 (- BAKIYE)))
  (dfb . ,(ly:make-pitch -1 1 (- BAKIYE)))
  (efb . ,(ly:make-pitch -1 2 (- BAKIYE)))
  (ffb . ,(ly:make-pitch -1 3 (- BAKIYE)))
  (gfb . ,(ly:make-pitch -1 4 (- BAKIYE)))
  (afb . ,(ly:make-pitch -1 5 (- BAKIYE)))
  (bfb . ,(ly:make-pitch -1 6 (- BAKIYE)))

  (cfk . ,(ly:make-pitch -1 0 (- KUCUK)))
  (dfk . ,(ly:make-pitch -1 1 (- KUCUK)))
  (efk . ,(ly:make-pitch -1 2 (- KUCUK)))
  (ffk . ,(ly:make-pitch -1 3 (- KUCUK)))
  (gfk . ,(ly:make-pitch -1 4 (- KUCUK)))
  (afk . ,(ly:make-pitch -1 5 (- KUCUK)))
  (bfk . ,(ly:make-pitch -1 6 (- KUCUK)))

  (cfbm . ,(ly:make-pitch -1 0 (- BUYUKMUCENNEB)))
  (dfbm . ,(ly:make-pitch -1 1 (- BUYUKMUCENNEB)))
  (efbm . ,(ly:make-pitch -1 2 (- BUYUKMUCENNEB)))
  (ffbm . ,(ly:make-pitch -1 3 (- BUYUKMUCENNEB)))
  (gfbm . ,(ly:make-pitch -1 4 (- BUYUKMUCENNEB)))
  (afbm . ,(ly:make-pitch -1 5 (- BUYUKMUCENNEB)))
  (bfbm . ,(ly:make-pitch -1 6 (- BUYUKMUCENNEB)))

)


%% set pitch names.
pitchnames = \makamPitchNames
#(ly:parser-set-note-names parser makamPitchNames)


makamGlyphs = #'((1 . "accidentals.doublesharp")
   (8/9 . "accidentals.sharp.slashslashslash.stemstem")
   (5/9 . "accidentals.sharp.slashslashslash.stem")
   (4/9 . "accidentals.sharp")
   (1/9 . "accidentals.sharp.slashslash.stem")
   (0 . "accidentals.natural")
   (-1/9 . "a

Re: markup too long?

[philippe hezaine]

Mats Bengtsson wrote:

The second problem you mention seems like a bug, so I recommend you to 
send an short and concise example (well, as short

as it can be) to the bug-lilypond mailing list.

  /Mats

Quoting philippe hezaine <[EMAIL PROTECTED]>:


Hi Mats,
For the second problem, I can't send my mail to the bug-lilypond mailing 
list.

It seems that I am top-posting.  (?)
Here is the short example.
Phil

 \version "2.10.14"

 \paper {	}
 
 \header {
   title = "URL not active in footer"

   copyright = "Creative Commons Attribution-ShareAlike 2.5"
 
   % These are headers used by the Mutopia Project
   % http://www.mutopiaproject.org/
   mutopiatitle = " 00 "
   mutopiacomposer = "Phil"
   mutopiaopus = ""
   mutopiainstrument = "Piano"
   date = ""
   source = ""
   style = ""
   copyright = "Creative Commons Attribution-ShareAlike 2.5"
   maintainer = "Philippe Hézaine"
   maintainerEmail = "[EMAIL PROTECTED]"
   lastupdated = "2006/Feb/11"

 footer = "Mutopia-2006/01/"

tagline =  \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-align { \fontsize #-2 \line { Sheet music from \with-url #"http://www.MutopiaProject.org"; \line { \fontsize #-3 www. \hspace #-1.0 MutopiaProject \hspace #-1.0 \fontsize #-3 .org \hspace #0.5 } • \hspace #0.5 \italic Free to download, with the \italic freedom to distribute, modify and perform. } \line { \fontsize #-2 \line { Typeset using \with-url #"http://www.LilyPond.org"; \line { \fontsize #-3 www. \hspace #-1.0 LilyPond \hspace #-1.0 \fontsize #-3 .org } by \maintainer \hspace #-1.0 . \hspace #0.5 Copyright © 2005. \hspace #0.5 Reference: \footer } } \line { \fontsize #-4 \line { Licensed under the Creative Commons Attribution-ShareAlike 2.5 License, for details see: \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/by-sa/2.5"; http://creativecommons.org/licenses/by-sa/2.5  } } } }

 }

 global = { \key f \minor
   		\time 4/4
 }

  melody =  \relative c'' {
   \clef treble
	c1 }


 
 \score {	

   <<
\new Staff {
		\new Voice = "melody" { \global \melody  }
	}
 >>
   \layout {
   }

 } %fin de score



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Re: markup too long?

[Graham Percival]

philippe hezaine wrote:
For the second problem, I can't send my mail to the bug-lilypond mailing 
list.

It seems that I am top-posting.  (?)


Please read
http://lilypond.org/web/devel/participating/bugs

In addition, your example is not short enough; please follow the tips on 
that webpage.


Cheers,
- Graham


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Why is the text shifted, when using \hspace ?

[Roland Goretzki]

Hi list,

using crescendoText with a dashed line I wanted to put a bit more space
between the text and the dashed line with \hspace #1.

But then I found that the dashed line was shifted to the right as wanted,
but the text from the crescendoText was shifted also, upwards,
ca. .5 staff spaces, and this is, what I don't want.

Is this a bug or a feature, or what else am I perhaps doing wrong?
A very little example file is in the attachment.

Best Regards   Roland
\version "2.10.14" % on debian sarge 3.1

\layout { ragged-right = ##t }

\relative c''{

  \override Score.SeparationItem #'padding = #10

  \setTextCresc
  \set crescendoText = \markup { \italic "cre" }
  a \< a \!

  \setTextCresc
  \set crescendoText = \markup { \italic "cre" \hspace #1 }
  a \< a \!

}
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How do I fit lyrics?

[Father Gordon Gilbert]

Hi list!

Can someone tell me where in the manual I can find how to fit lyrics to
other voices?

What I'm doing is arranging a hymn for Barbershop chorus, and in the last
stanza, I want to do a call-and-response thing, changing the rhythm from 3
to 4 (I've managed that part) and using the extra beat to have interaction
between the parts, thus:

when we've  been there \
   | ten thousand
years ...
When we'vebeen there  /

So while the leads (second voice, same place as alto in SATB) have the
regular words associated with their line, the tenors (in soprano place) and
baritones and basses (on bass clef) will sing alternate words directly keyed
to their line of music.  I've seen it done, but I simply can't find how in
the manual.

Windows XP Pro, LilyPond 2.11.14, jEdit 4.3 pre9 with Lilypond Tool

Can someone help?

Blessings,

Fr. Gordon Gilbert
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Re: lilypond version

[Graham Percival]

Aaron Dalton wrote:

I'm running FreeBSD5 and I downloaded and installed the FreeBSD installer for
v2.10.13-1.  After installing misc/compat4x it appears to be running fine. 
Thanks for the nice new installers!  When I run it, though, it is reporting the

version ans 2.8.7.  Could someone explain why?


Is it lilypond that says 2.8.7 (ie on the command-line when you run 
"lilypond foo.ly"), or the first test example?


Cheers,
- Graham


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Harmonic notations

[Christopher Culver]

I would like to typeset a harmonic on the alto clef, standard diamond
notehead, where the actual sound is indicated by a treble clef
followed by a stemless black notehead in parentheses. Is there a right
way to do this? Would MIDI output be faithful to the score?


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Re: Technique for aligning lyrics with voices in different staves --HOWTO

[Graham Percival]

Eduardo Vieira wrote:

This solution looks simpler, but in version 2.10.2, the lyrics for the tenor
become leftaligned (a bug?):


Please check in the latest version of lilypond before wondering if 
something is a bug.  IIRC, this was fixed around 2.10.9.


Cheers,
- Graham


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