Slurs after line break - comments affect layout?

[Risto Vääräniemi]

Dear All,

I have a piece of music with many slurs and sometimes I need to make a
system break during a slur. With the current key (f minor) the default
results are usually not that pleasing to the eye.

Luckily, I found a Scheme thingy on the mailing list for tweaking the
broken slur at the beginning of a system.
http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00539.html

There's something odd in that, though. It seems that comments and
spacing affects the resulting slur, which sounds weird.


\version "2.11.39"

\include "suomi.ly"

\paper
{
indent = 0\mm
ragged-right = ##t
}

#(define (my-callback grob)
(let* (
; have we been split?
(orig (ly:grob-original grob))
; if yes, get the split pieces (our siblings)
(siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig) '() )))
(if (and (>= (length siblings) 2)
   (eq? (car (last-pair siblings)) grob))
   (ly:grob-set-property! grob 'control-points
   '((4 . 3) (5 . 4.8) (10 . 5) (11 . 3.5))
%((0.3 . 1.8) (-0.3 . 3) (-2 . 3.5) (-3 . 3))
%((4 . 9) (6 . 13) (17 . 14) (21 . 12))
%((4 . 3) (5 . 4.8) (10 . 5) (11 . 3.5))

\relative c''
{
\clef treble \time 4/4 \key f \minor

%\once \rideover Srul #'sotipions = #'(0 . 1.0)

g1 \once \override Slur #'after-line-breaking = #my-callback
g2^( g4 g \break
g2) g2
g1

% foobar
}


The broken slur reverts to default shape if I remove the line break
above the % foobar, remove the %\once ... line, remove the \include
"suomi.ly" line or remove the commented list of numbers below the
Scheme function. The stuff on the %\once line probably doesn't have
any effect per se because messing up the syntax didn't change the
behaviour.

Question one:
If the Scheme is the culprit is there a way to fix it?

Question two:
Can I pass the control points as an argument?

Question three:
Is there another way to tweak the shape of the broken slur?

-Risto
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Re: Clef, key and tempo only at beginning of first system?

[sdfgsdhdshd]

Mats Bengtsson-4 wrote:
> 
> sdfgsdhdshd wrote:
> 
>>Is it possible to write the Clef, key and tempo only at the beginning of
the
>>first system of each score?
>>  
>>
> Certainly! Just turn off printing of these objects somewhere
> after the first note (but of course before the next line break).
> For example, it should work do add the following lines
>   \override Score.KeySignature #'break-visibility = #all-invisible
>   \override Score.Clef #'break-visibility = #all-invisible
> after the first note (or the first bar or wherever is suitable).
> 

Thanks, it works for the music.

There is now a problem with the lyric line:
My music is SATB+lyric (Win XP+2.11.41). The first word of the second system
and the next systems collides with the system vertical bar, if the word is
more than 2 or 3 letters.

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Re: tuplet-type groups and bar check

[Mats Bengtsson]

A Graham says, there's no problem with
\include "english.ly"
\relative c'{
\time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f d] }  |
}
in neither 2.11.41 nor 2.10.33. Can you please provide a complete example
that illustrates the problem.

  /Mats

Graham Percival wrote:

There's no problem with 2.11.41.  What version are you using?

Ceers,
- Graham

On Wed, 5 Mar 2008 22:56:29 -0800
"David Fedoruk" <[EMAIL PROTECTED]> wrote:

  

Hello:

It seems when ever I use a grouping like this:

\time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f
d] }  |

The bar check sees that as 9/20  the score I'm working with has a
quarter note and acciacatura and a 5 gouping which *should* be 5 16th
in the time of 4 making one quarter note. This should be correct, yet
I get this error. I have a feeling this may be the culprit in a repeat
volta I'm trying to trouble shoot.

There are occasions where Lilypond seems not to count acciacaturas and
grace time correctly or it gets confused. This is one where I have no
idea why it acts the way it does.  What am I not seeing?

Cheers
David

--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003


http://recordjackethistorian.wordpress.com
"Music is enough for one's life time, but one life time is not enough
for music" Sergei Rachmaninov


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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: Slurs after line break - comments affect layout?

[Risto Vääräniemi]

I'm sorry for so many postings.

On 06/03/2008, Risto Vääräniemi wrote:
>  I have a piece of music with many slurs and sometimes I need to make a
>  system break during a slur. With the current key (f minor) the default
>  results are usually not that pleasing to the eye.
>
>  Luckily, I found a Scheme thingy on the mailing list for tweaking the
>  broken slur at the beginning of a system.
>  http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00539.html

I had a go and compiled the music with .41. It seems that the code
that creates a nice slur with .39 produces a default, not-so-pretty,
slur with .41. :-(

Any suggestions or pointers?

Another thing...

If I use \set doubleSlurs = ##t to produce upper and lower slurs e.g.
for two  chords, can I tweak the broken slur(s) then. Which slur does
the settings (control-points) change?

-Risto


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Re: Clef, key and tempo only at beginning of first system?

[Mats Bengtsson]

sdfgsdhdshd wrote:


There is now a problem with the lyric line:
My music is SATB+lyric (Win XP+2.11.41). The first word of the second system
and the next systems collides with the system vertical bar, if the word is
more than 2 or 3 letters.
  

See the main section called "Vocal music"

   /Mats


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Re: Spacing around bar lines in 2.11.38 - links to example (fixed)

[Mats Bengtsson]

You have already done lots of tweaks related to the spacing, so are probably
aware of that the layout decisions on LilyPond are based on a large 
number of

different considerations and parameter values.
I admit that you have very tight spacing around some bar lines, for example
in the beginning of bar 26 of barexample.pdf (when I processed your file 
with

2.11.41, the line breaks ended up somewhat differently so bar 26 ended up
slightly more spaced out). See
http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg00124.html
for a hint on how to adjust the spacing after bar lines.

When browsing through your file, I noticed that you used the following
contruct:
   \repeat unfold 3 { s1 } \lpbreak
Are you aware of that you can reduce the typing by using
s1*3 \lpbreak
instead?

   /Mats

Steve Dunlop wrote:

Sorry about the bad PDF.  I had FTP'd it in text mode.

I have fixed the original PDF:
http://www.nerstrand.net/8lpf.pdf

And put all the files together into one .ly file for ease of viewing:
http://www.nerstrand.net/barexample.ly

And for good measure posted the PDF from the barexample.ly file:
http://www.nerstrand.net/barexample.pdf

And fixed the broken link:
http://www.nerstrand.net/bwv558.ly

Sorry for the mixup, and thanks for looking.

Steve

  

 Original Message 
Subject: Re: Spacing around bar lines in 2.11.38 - links to example
From: "Valentin Villenave" <[EMAIL PROTECTED]>
Date: Wed, March 05, 2008 4:15 am
To: "Steve Dunlop" <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org


2008/3/4, Steve Dunlop <[EMAIL PROTECTED]>:


http://www.nerstrand.net/8lpf.pdf
  

I cannot open your pdf :(



 I'm posting the whole thing because the overall spacing situation seems
 to be contributing to the problem.
  

Could you please put all of it in a single file, and maybe post it on the list?



 Sources:

 http://www.nerstrand.net/8lpf.ly
 http://www.nerstrand.net/bwv558.ly
 http://www.nerstrand.net/organscore.ly
  

The second link isn't working :(

Cheers,
Valentin





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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Idea for improved automatic beaming

[Mats Bengtsson]

Hi,

Based on the recent discussions on automatic beaming, I got an idea on
a possible improvement/simplification.
Currently, a setting like
#(override-auto-beam-setting '(end 1 16 4 4) 1 4)
means that beams are ended on the first beat if the beamed notes are 
16th notes.

What if we changed the implementation so that
#(override-auto-beam-setting '(end 1 16 4 4) 1 4)
meant that beams are ended on the first beat if the beamed notes are
1/16 *or shorter*?

With this modification, the current settings for common meter could be
shortened to:
   ((end * * 4 4) . ,(ly:make-moment 1 2))
   ((end 1 12 4 4) . ,(ly:make-moment 1 4))
   ((end 1 12 4 4) . ,(ly:make-moment 3 4))

   ((end 1 32 4 4) . ,(ly:make-moment 1 8))
   ((end 1 32 4 4) . ,(ly:make-moment 3 8))
   ((end 1 32 4 4) . ,(ly:make-moment 5 8))
   ((end 1 32 4 4) . ,(ly:make-moment 7 8))

and as an extra benefit, it would also automatically handle 16th triplets,
32th septuples or whatever tuplets you can think of.
Actually, at second thought, the above list should perhaps be replaced by
   ((end * * 4 4) . ,(ly:make-moment 1 2))
   ((end 1 9 4 4) . ,(ly:make-moment 1 4))
   ((end 1 9 4 4) . ,(ly:make-moment 3 4))

   ((end 1 17 4 4) . ,(ly:make-moment 1 8))
   ((end 1 17 4 4) . ,(ly:make-moment 3 8))
   ((end 1 17 4 4) . ,(ly:make-moment 5 8))
   ((end 1 17 4 4) . ,(ly:make-moment 7 8))
saying that any tuplet with a duration shorter then 1/9, i.e. strictly 
shorter than 1/8

should be beamed on every beat. For example
c8 c \times 4/5 { c8 c c c c } c8 c
would give
c8[ c] \times 4/5 { c8[ c c c c] } c8[ c]

Can anybody think of a typesetting situation where these kind of rules 
wouldn't
work, i.e. where notes with shorter durations should result in longer 
beams than

notes with some other longer duration?

   /Mats


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Signal Processing
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SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: Slurs after line break - comments affect layout?

[Risto Vääräniemi]

Alright,

Things are unwinding a bit...

With Mats' suggestion to use \override Staff.KeySignature #'avoid-slur
=#'outside [1] and exploiting the example in section "Difficult
tweaks" the results look a bit better. However, the offset is
currently hard-coded in the callback. :-(

There's one question for the Scheme pros that I already asked in my
previous email but appears here again for summing things up:
Can I pass the extra-offset parameter to the slur-callback function/procedure?

I already tried adding a new parameter after grob and tried to call
the function by ... = #slur-callback #'(X . Y) but I got errors
complaining about wrong number of arguments.

-Risto

[1] http://lists.gnu.org/archive/html/bug-lilypond/2007-06/msg00090.html

%
\version "2.11.41"

\paper
{
indent = 0\mm
ragged-right = ##t
}

#(define (slur-callback grob offset)
(let* (
; have we been split?
(orig (ly:grob-original grob))
; if yes, get the split pieces (our siblings)
(siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig) '() )))
(if (and (>= (length siblings) 2)
(eq? (car (last-pair siblings)) grob))
(ly:grob-set-property! grob 'extra-offset (0 . 3)

\relative c''
{
\clef treble \time 4/4 \key f \minor

\override Staff.KeySignature #'avoid-slur =#'outside

\once \override Slur #'after-line-breaking = #slur-callback
g2^( g4 g \break
g2) \once \override Slur #'after-line-breaking = #slur-callback g2^( \break
es2) es
}
%
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Re: Dot Staccato x Slur

[Valentin Villenave]

2008/3/6, Zenith <[EMAIL PROTECTED]>:

Greetings,

>  1) Almost all notes the slur is above the dot of staccato, but one note the
>  dot insist to stay above the slur, is there a way to correct this?

Can you provide us with an example?

>  2) on staccato, the distance between the dot and the respective note are not
>  the same along the music... sometimes que dot are almost touching the head
>  of the note, may I correct this?

It depends whether the dots are inside the staff (in which case they
try to avoid staff-lines) or outside. You have to try with the latest
version though, as a related bug has just been fixed by Han-Wen:
http://code.google.com/p/lilypond/issues/detail?id=557

Cheers,
Valentin


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Dot Staccato x Slur

[Zenith]

1) Almost all notes the slur is above the dot of staccato, but one note the
dot insist to stay above the slur, is there a way to correct this? 

2) on staccato, the distance between the dot and the respective note are not
the same along the music... sometimes que dot are almost touching the head
of the note, may I correct this?
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Re: use the feta font in GIMP

[Mats Bengtsson]

My experience of "final touches" in general is that on the average you 
have to
repeat the final touch at least 3 times, since you found some other 
minor detail
you wanted to fix so that you had to rerun the full process again. 
Therefore,

I personally prefer to spend more time on fixing the problem in the original
tool (LilyPond in this case) than it would take to do the final touch 
(once) in

some other tool. The fixes you mention, placement of some objects,
are often fairly easy to obtain within LilyPond.

  /Mats

matth wrote:

Thanks a lot,
I was a bit afraid to ask this because it's not really a question 
about lilypond.
To Kieren, the "final touch" is about the placement of some objects 
like rests or harmonics : a few months ago I was working on "In the 
woods" by Takemitsu (a piece for guitar) and the notation used for 
some harmonics was really great ( the note played with the left hand 
without stem, the one played with the right hand without stem and with 
a diamond head, the two smaller and between brackets and the closest 
note from the heard pitch normal with a little circle above)
So the problem is not to know how to change things but just to keep an 
intelligible code.

I'll try Inkscape it seems great!
I've a second question : can we enable or disable whole engravers from 
some contexts  with something like the \override command so that we 
don't have to create new contexts with specific properties? Maybe I'll 
have to open a new thread for that.

Thanks everybody.

2008/3/5, Valentin Villenave <[EMAIL PROTECTED] 
>:


2008/3/5, Kieren MacMillan <[EMAIL PROTECTED]
>:


>  If not, I second Chris's suggestion to avoid GIMP, in favour of a
>  vector-based application.


Inkscape is free and can directly open .ps files generated by
LilyPond :)

http://www.inkscape.org/

Cheers,
Valentin


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Re: automatic beaming in tuplets

[Mats Bengtsson]

The list of predefined beaming patterns is far from complete, as you have
noticed. The default rules are also a mix of general rules, for example that
a beam is always ended on the third beat in 4/4 meter, and specific rules
for certain note lenghts, for example that beams with 32nd notes are always
ended on every 8th note in 4/4.

For tuplets in general, there is only one specific rule included among the
default beaming patterns, namely that triplet 8ths should be ended on
each beat in 4/4.

Of course it would be possible to extend the list, but at least with the
current mechanism, this would make the list of default beaming patterns
extremely long (which even might influence the LilyPond processing time)
and still there will always be some user who wants a special case that's
not covered. The strategy chosen in LilyPond today is to let the default
settings cover the most common everyday music typesetting needs and
provide instructions on how each user can extend the beaming patterns
according to her/his needs and preferences.

For example, I have extended your example with the corresponding
auto-beam settings. Normally, you could enter all these at the top of the
piece, but here I inserted them in front of the bar where they are used.
\version "2.11.41"


\relative c'' {
\time 4/4
% c1
c8 c c c c c c c
% c2
c16 c c c  c c c c  c c c c  c c c c
% c3
#(override-auto-beam-setting '(end 1 20 4 4) 1 4)
#(override-auto-beam-setting '(end 1 20 4 4) 3 4)
\times 4/5 { c16 c c c c } \times 4/5 { c16 c c c c } c8 c \times 4/5 { 
c16 c c c c }

% c4
#(override-auto-beam-setting '(end 1 24 4 4) 1 4)
#(override-auto-beam-setting '(end 1 24 4 4) 3 4)
\times 4/6 { c16 c c c c c } \times 4/6 { c16 c c c c c } c8 c \times 
4/6 { c16 c c c c c }

% c5
#(override-auto-beam-setting '(end 1 28 4 4) 1 4)
#(override-auto-beam-setting '(end 1 28 4 4) 3 4)
\times 8/7 { c32 c c c c c c } \times 8/7 { c32 c c c c c c } c32 c c c 
c c c c  c32 c c c c c c c

% c6
#(override-auto-beam-setting '(end 1 10 4 4) 1 4)
#(override-auto-beam-setting '(end 1 10 4 4) 3 4)
c8 c \times 4/5 { c8 c c c c } c4
}

   /Mats


luis jure wrote:

hello list,

i'm a beginner at lilypond, i know enough to enter music in a simple
way. i still don't know enough of the language to try elaborate tweaks,
but i find that usually lilypond is smart enough to produce good output
for music that's not too complex.

but i suspect that automatic beaming is not working correctly in
certain cases involving tuplets. i include a short snippet with the
corresponding image. i'm using a recently compiled 2.11.41 on linux.

in 4/4 time signature, eight notes are beamed every 4 notes (i. e. into
whole notes, m.1 in the example), which is of course correct; sixteenth
notes are also correctly beamed every 4 notes into quarter notes (m.2).
but 16th notes quintuplets and sextuplets are beamed into whole notes,
even if that means including a pair of eight notes (m3 and m4). the
same with 32nd septuplets (m5). normal 32nd notes, on the other hand,
are beamed every 4 notes into eight notes, while i find that beaming
every 8 notes is more standard. i find other anomalies, like the 8th
notes quintuplet beamed together with the preceding 8th notes (m6).

as a beginner, i don't know if these are bugs, my mistakes, or if that
is the intended behavior. in the last case, could i ask the authors to
reconsider the criteria used for automatic beaming? 


i know that you can adjust the beaming manually, or even change the
automatic beam behavior globally. but i think that the defaults should
be chosen in a way that requires as little manual tweaks as possible.

thank you for your attention.

best,

lj
  






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Re: use the feta font in GIMP

[matth]

Thanks a lot,
I was a bit afraid to ask this because it's not really a question about
lilypond.
To Kieren, the "final touch" is about the placement of some objects like
rests or harmonics : a few months ago I was working on "In the woods" by
Takemitsu (a piece for guitar) and the notation used for some harmonics was
really great ( the note played with the left hand without stem, the one
played with the right hand without stem and with a diamond head, the two
smaller and between brackets and the closest note from the heard pitch
normal with a little circle above)
So the problem is not to know how to change things but just to keep an
intelligible code.
I'll try Inkscape it seems great!
I've a second question : can we enable or disable whole engravers from some
contexts  with something like the \override command so that we don't have to
create new contexts with specific properties? Maybe I'll have to open a new
thread for that.
Thanks everybody.

2008/3/5, Valentin Villenave <[EMAIL PROTECTED]>:
>
> 2008/3/5, Kieren MacMillan <[EMAIL PROTECTED]>:
>
>
> >  If not, I second Chris's suggestion to avoid GIMP, in favour of a
> >  vector-based application.
>
>
> Inkscape is free and can directly open .ps files generated by LilyPond :)
>
> http://www.inkscape.org/
>
> Cheers,
> Valentin
>
>
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Re: tuplet-type groups and bar check

[Valentin Villenave]

2008/3/6, David Fedoruk <[EMAIL PROTECTED]>:
> Hello:
>
>  It seems when ever I use a grouping like this:
>
>  \time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f d] }  |
>
>  The bar check sees that as 9/20 

Perhaps you're refering to LilyPondTool's automatic barcheck
indications... We are aware that these indications are still somehow
limited, which is why Bertalan is trying to recode the complete thing,
using LilyPond's *real* parser (curently, it's somehow faking
LilyPond's behavior, so please don't be too picky about what it tells
you :)

Cheers,
Valentin


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Re: Autobeaming with subdivision in 4/4

[Hans Aberg]

On 5 Mar 2008, at 23:52, Mats Bengtsson wrote:

Well, believe it or not, it _does_ work "as it should" when I  
change the rules to


 #(override-auto-beam-setting '(end * * 8 8) 1 4 'Voice)
 #(override-auto-beam-setting '(end * * 8 8) 1 2 'Voice)
 #(override-auto-beam-setting '(end * * 8 8) 3 4 'Voice)

That is to say, 8/8 instead of 4/4. But the timing is still  
unchanged, i.e. 4/4, just like I wanted it. (I have only tried it  
for the example that I posted originally, perhaps this is a freak  
example, I'll experiment more later.)

 Clearly, this is not a bug---it is an accidental feature!


Right! A look into the implementation of the auto-beaming
functions reveal that they determine the denominator of the
time signature from the beatLength setting and the numerator
by dividing the measureLength by the beatLength.


When trying it the above out (LilyPond 2.11.35), I do not get what I  
assumed to be the called for: !/4 noter gropes separate, and the 1/8  
note groups subbeamed.


  Hans Åberg




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How to use line-break-penalty?

[Mark Knoop]

I'm trying to use the line-break-penalty property of the
paper-column-interface to set some preferred line-breaking positions
(e.g. to prefer a line break at the start of a variation in a set of
variations, or at a repeat sign). 

However I'd prefer not to _force_ a line-break with \break as I want the
source to be usable for different paper and staff sizes. (LaTeX does
this well with \linebreak[2], for example.)

I'm using:

\once \override Score.PaperColumn #'line-break-penalty = #-20

but it doesn't seem to be having any effect. Any ideas?

-- 
Mark Knoop


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Re: Dot Staccato x Slur

[Zenith]

Hi,

I uploaded here the .jpg file (from the PDF) that was created by lilypond
here:  http://zgurgel.110mb.com/op28.jpg op28.jpg 

As you can see, the first situation (dot above the slur), is illustrated by
marks in "red", and the second one(distance between dots and notes), in
"blue".

Sorry for my bad english!

Here is the code: 

\version "2.11.41"

#(set-default-paper-size "a4")
% \markup { \dynamic \small p \small \italic grazioso }
% pg = #(make-dynamic-script "p grazioso")
\paper{
  line-width = 19\cm
}

\header {
title = "Thème et Variations"
subtitle = \markup { \lower #1.0 \small "EN LA MINEUR" }
composer = "NEPOMUCENO, Alberto"
opus = \markup {\italic "Op." "28" }
poet = "A Arthur Napoleão"
}
 cima = { 
\dynamicDown

% 1a. linha
8^\markup{\hspace #-4.0 "Allegretto" }\p(  _\markup{ \italic \small
\halign #-0.6 "grazioso"} \stemDown < gis b>4-.) -. \stemNeutral
8(   \stemDown 4-.) -. \stemNeutral 
8\<\( \! 
\times 2/3 { \f  \)}  \override Script #'padding = #1 2\fermata \override Script #'padding = #0 \break

% 2a. linha
8\p(   \stemDown < gis b>4-.) -. \stemNeutral
8(   \stemDown < gis b>4-.) -. \stemNeutral 
8\<\( \! 
\times 2/3 { \f  \)} \override Script #'padding = #1 2\fermata \override Script #'padding = #0 \bar "||" \break

% 3a. linha
\bar "|:"  8\p\(  \stemDown 4^.\) ^.
\stemNeutral
8\(  4^.\) ^.
8\(  4^.\) ^.
8\(  4^.\) ^.
8\>(  4^•) 8( \! \break

% 4.a linha
4^.)

}
baixo = 
{
% 1a. linha
8(   \stemDown < gis b>4-.) -. \stemNeutral 
8(   \stemDown < gis b>4-.) -. \stemNeutral 
a8\( b c d e f 
\times 2/3 { g f e\)} \override Script #'padding = #1 e2\fermata \override
Script #'padding = #0 \break

% 2a. linha
8(   \stemDown < gis b>4-.) -. \stemNeutral 
8(   \stemDown < gis b>4-.) -. \stemNeutral 
a8\( b c d e f 
\times 2/3 { g f e\)} \override Script #'padding = #1 e2\fermata \override
Script #'padding = #0 \bar "||" \break

% 3a. linha
\bar "|:" \stemDown 8\(  4^.\) ^. 
8\(  4^.\) ^. 
8\(  4^.\) ^.
8\(  4^.\) ^.
fis''( b,^.) e( \stemNeutral \break

% 4a. linha
a,^.)
}

 melodia = \new Staff { \relative c'' { \cima } } 
harmonia = \new Staff { \clef bass \time 3/4 \relative c' { \baixo } } 

  \new PianoStaff << \set PianoStaff.instrumentName = "PIANO " \melodia
\harmonia >>





Valentin Villenave wrote:
> 
> 2008/3/6, Zenith <[EMAIL PROTECTED]>:
> 
> Greetings,
> 
>>  1) Almost all notes the slur is above the dot of staccato, but one note
>> the
>>  dot insist to stay above the slur, is there a way to correct this?
> 
> Can you provide us with an example?
> 
>>  2) on staccato, the distance between the dot and the respective note are
>> not
>>  the same along the music... sometimes que dot are almost touching the
>> head
>>  of the note, may I correct this?
> 
> It depends whether the dots are inside the staff (in which case they
> try to avoid staff-lines) or outside. You have to try with the latest
> version though, as a related bug has just been fixed by Han-Wen:
> http://code.google.com/p/lilypond/issues/detail?id=557
> 
> Cheers,
> Valentin
> 
> 
> ___
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> 

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Re: use the feta font in GIMP

[matth]

It didn't work for me in inkscape but with scribus it's really really
amazing what we can do!
thanks a lot
matth

2008/3/6, Mats Bengtsson <[EMAIL PROTECTED]>:
>
> My experience of "final touches" in general is that on the average you
> have to
> repeat the final touch at least 3 times, since you found some other
> minor detail
> you wanted to fix so that you had to rerun the full process again.
> Therefore,
> I personally prefer to spend more time on fixing the problem in the
> original
> tool (LilyPond in this case) than it would take to do the final touch
> (once) in
> some other tool. The fixes you mention, placement of some objects,
> are often fairly easy to obtain within LilyPond.
>
>/Mats
>
>
> matth wrote:
> > Thanks a lot,
> > I was a bit afraid to ask this because it's not really a question
> > about lilypond.
> > To Kieren, the "final touch" is about the placement of some objects
> > like rests or harmonics : a few months ago I was working on "In the
> > woods" by Takemitsu (a piece for guitar) and the notation used for
> > some harmonics was really great ( the note played with the left hand
> > without stem, the one played with the right hand without stem and with
> > a diamond head, the two smaller and between brackets and the closest
> > note from the heard pitch normal with a little circle above)
> > So the problem is not to know how to change things but just to keep an
> > intelligible code.
> > I'll try Inkscape it seems great!
> > I've a second question : can we enable or disable whole engravers from
> > some contexts  with something like the \override command so that we
> > don't have to create new contexts with specific properties? Maybe I'll
> > have to open a new thread for that.
> > Thanks everybody.
> >
> > 2008/3/5, Valentin Villenave <[EMAIL PROTECTED]
>
> > >:
>
> >
> > 2008/3/5, Kieren MacMillan <[EMAIL PROTECTED]
>
> > >:
>
> >
> >
> > >  If not, I second Chris's suggestion to avoid GIMP, in favour of a
> > >  vector-based application.
> >
> >
> > Inkscape is free and can directly open .ps files generated by
> > LilyPond :)
> >
> > http://www.inkscape.org/
> >
> > Cheers,
> > Valentin
> >
> >
> > ___
> > lilypond-user mailing list
>
> > lilypond-user@gnu.org 
>
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> >
> >
> >
> > --
> > se renseigner sur windows :
> > http://badvista.fsf.org/what-s-wrong-with-microsoft-windows-vista
> > puis choisir son GNU/linux :
> > http://www.zegeniestudios.net/ldc/index.php?lang=fr
>
> > 
>
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
> --
>
> =
> Mats Bengtsson
> Signal Processing
> School of Electrical Engineering
> Royal Institute of Technology (KTH)
> 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: Clef, key and tempo only at beginning of first system?

[sdfgsdhdshd]

Mats Bengtsson-4 wrote:
> 
> 
> 
> sdfgsdhdshd wrote:
>>
>> There is now a problem with the lyric line:
>> My music is SATB+lyric (Win XP+2.11.41). The first word of the second
>> system
>> and the next systems collides with the system vertical bar, if the word
>> is
>> more than 2 or 3 letters.
>>   
> See the main section called "Vocal music"
> 

I read the entire section, but it didn't help.

I have two other ideas, that will do, if possible.

1) on systems number 2 to n, is it possible to automatically add some blank
space before the first item? 


2) The line:

\override Score.Clef #'break-visibility = #all-invisible

is it possible to change it, so that the Clef will now be invisible on all
systems, but its space reserved?

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Re: Dot Staccato x Slur

[Zenith]

Well, 

I used the laster version... 1.11.41.

It seems to be very strange to me the irregular distance of the dots
sometimes the dots are almost touching the notes... and these notes are not
inside the staff lines... 

As it also so strange to see the dot above the slur only in one note! And
this dot is so distant... and, as I can see, the dot is a bit small related
to the others...




Zenith wrote:
> 
> 1) Almost all notes the slur is above the dot of staccato, but one note
> the dot insist to stay above the slur, is there a way to correct this? 
> 
> 2) on staccato, the distance between the dot and the respective note are
> not the same along the music... sometimes que dot are almost touching the
> head of the note, may I correct this?
> 

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Re: Dot Staccato x Slur

[Valentin Villenave]

2008/3/6, Zenith <[EMAIL PROTECTED]>:
>
>  I used the laster version... 1.11.41.

OK. Thanks for having investigated this; having looked at your
indications, I'm not a specialist but I think there's no bug at stake
here.

The thing you marked in blue is explained by what I said about the
inside/outside the staff difference: outside the staff, the dots are
place as close as possible to the noteheads; inside the staff this
behavior is no longer applied, to prevent dots from colliding with
staff lines.

As for the thing you marked in red, I suppose this is related too: the
dot on the d is placed above the staff (and therefore above the slur)
to avoid a collision with the topmost staff-line.

>  It seems to be very strange to me the irregular distance of the dots
>  sometimes the dots are almost touching the notes... and these notes are not
>  inside the staff lines...

Yes, perhaps you misunderstood my point: the dots-almost-touching the
notes *is* actually the default behavior, that is changed only when
the notes are inside the staff.

However, I assume you know how to chang the default offset of the
staccato dots, if you happen to prefer the dots to be a bit less close
to noteheads.

(By the way, I noticed you use capital letters in your titles; since
you're using the last development versions, I may suggest typing your
titles normally and using the \smallCaps command instead - IMO the
result is much better-looking).

Cheers,
Valentin


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Re: moving notes horizontal position

[Zenith]

Well,

this solved to me:

\times 2/3 { \f  \)}  \override Script #'padding = #1
\once \override NoteColumn #'X-offset = #3 2 \fermata \override Script
#'padding = #0 | \break

Thx :drunk:




Zenith wrote:
> 
> Well,
> i just would like to move the note to the right, if possible, moving just
> one note, fixing all the others and music structure! 
> 
> 
> Mats Bengtsson-4 wrote:
>> 
>> The question is if you want to move the note to the right or if you want
>> to decrease the distance from the note to the bar line.
>> In the former case, read the last lines of section "Horizontal spacing 
>> overview"
>> in the manual. In the latter case, you may rather want to play with
>> scaling
>> the durations, for example
>> \times 2/3 { 8 \f  8*4\)} \override Script #'padding = 
>> #1 > e'>2*1/2\fermata
>> or
>> \times 2/3 { 8*2 \f  \)} \override Script #'padding = 
>> #1 > e'>2*1/2\fermata |
>> 
>> I actually think that the default layout corresponds fairly well to
>> common
>> notation practice, though.
>> 
>>/Mats
>> 
>> Zenith wrote:
>>> A stupide question!
>>>
>>> I just would like to move the last notes a bit more to the end(aproach
>>> to
>>> the bar) as it can be seem in the fotolog below
>>>
>>> http://www.fotolog.com/lilypondstudent/45749639
>>>
>>> here is a piece of code of the melody:
>>>
>>> 8\<\( \! 
>>> \times 2/3 { \f  \)} \override Script #'padding = #1
>>> >> e'>2\fermata
>>>
>>> Thx!
>>>   
>> 
>> -- 
>> =
>>  Mats Bengtsson
>>  Signal Processing
>>  School of Electrical Engineering
>>  Royal Institute of Technology (KTH)
>>  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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>> lilypond-user@gnu.org
>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>> 
>> 
> 
> 

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Re: Dot Staccato x Slur

[Zenith]

Hi Valentin (it sound to be an artistic name), =^D

I understood what you said...

Thank you for the suggestion about the title, now, it's really good-looking!

well, i just yould like to separate the dots a bit less close to noteheads,
but I dont know what to do to change the default offset, may you give me an
example?... 




Valentin Villenave wrote:
> 
> 2008/3/6, Zenith <[EMAIL PROTECTED]>:
>>
>>  I used the laster version... 1.11.41.
> 
> OK. Thanks for having investigated this; having looked at your
> indications, I'm not a specialist but I think there's no bug at stake
> here.
> 
> The thing you marked in blue is explained by what I said about the
> inside/outside the staff difference: outside the staff, the dots are
> place as close as possible to the noteheads; inside the staff this
> behavior is no longer applied, to prevent dots from colliding with
> staff lines.
> 
> As for the thing you marked in red, I suppose this is related too: the
> dot on the d is placed above the staff (and therefore above the slur)
> to avoid a collision with the topmost staff-line.
> 
>>  It seems to be very strange to me the irregular distance of the dots
>>  sometimes the dots are almost touching the notes... and these notes are
>> not
>>  inside the staff lines...
> 
> Yes, perhaps you misunderstood my point: the dots-almost-touching the
> notes *is* actually the default behavior, that is changed only when
> the notes are inside the staff.
> 
> However, I assume you know how to chang the default offset of the
> staccato dots, if you happen to prefer the dots to be a bit less close
> to noteheads.
> 
> (By the way, I noticed you use capital letters in your titles; since
> you're using the last development versions, I may suggest typing your
> titles normally and using the \smallCaps command instead - IMO the
> result is much better-looking).
> 
> Cheers,
> Valentin
> 
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 

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RE: Spacing around bar lines in 2.11.38

[Steve Dunlop]

This has the unfortunate side effect of preventing barlines from
appearing flush right with the staff, so that instead the five lines of
the staff continue past the bar line for whatever amount Y-extent is set
to.

I'm trying Mats' suggestion now.

Steve

>  Original Message 
> Subject: Re: Spacing around bar lines in 2.11.38
> From: "Valentin Villenave" <[EMAIL PROTECTED]>
> Date: Tue, March 04, 2008 1:36 pm
> To: "Mats Bengtsson" <[EMAIL PROTECTED]>
> Cc: "Steve Dunlop" <[EMAIL PROTECTED]>, lilypond-user@gnu.org
> 
> 
> 2008/3/4, Valentin Villenave <[EMAIL PROTECTED]>:
> 
> >  \override Staff.BarLine #'Y-extent = #'(-1 . 1)
> 
> ... and X-extent instead of Y.
> 
> Gosh, I'd better go to bed now.
> 
> Valentin



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RE: Spacing around bar lines in 2.11.38 - links to example (fixed)

[Steve Dunlop]

> See
> http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg00124.html
> for a hint on how to adjust the spacing after bar lines.

Mats,

That works OK, thanks.  I'm puzzled as to the cause of the tight
spacing, though, because the overrides used in the score are not
unusual.  The problem seems worst with whole notes on ledger lines in
measures that also contain running eighth notes.

Thanks for the note on repeated spaces as well.

Steve



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a terrible question

[hhpmusic]

Hai,
  The question I'm asking is very advanced. Some of you probably know the 
Beijing opera or other kinds of folk dramatic music in CHina. If I use the 
elements of these kinds of music in an instrumental score such as violin or 
cello music (Tan Dun did it already, but surely by hand), there must be some 
graphical lines. The Scheme tutorial I found is a PS file, and after converted 
to text (only this way can I read it), the texts are messed up and unreadable, 
especially the blocks for syntax learning. So I don't know whether I can draw 
pictures using Scheme codes and how to do.
  Since I'm blind, I can't draw a JPG file to show what I want. Just give two 
examples to show two kinds of lines I want:
  Function 1: c1\growingTrill\fermata
  This trill is a line shows that the frequency must grow gradually, like this:
  c8^"Ad Libtum" d c d \times 2/3 { c8 d c } d16 c d c... and more fast since a 
fermata is here.
  Function 2: to define a trill spanner style, which is as a straight line at 
first, but after a while begins the normal till waves. OR, more advanced, the 
waves are note ascending, but a inverted one (thus, I don't want the trill be 
written on note b). Then:
  c2\startTrillSpan % straight line
  c2\stopTrillSpan % begin trill or inverted one as defined previously
 or directly using c1\straightTrill as difined to make such a kind of trill 
(the length of the straight line can be changed freely but not collides othe 
grobs) on a single note
  More things are slow glissando line or zigzag line to let the player play a 
zigzag wave while sliding up or down.
  My god! The question seems too hard to be answered! Can anyone help me?
  By the way, can anyone tell me where a text or html version of Scheme 
tutorial is. If you can't solve this, I can learn Scheme and solve it myself 
(unless Scheme can't draw figures).
Haipeng
 
 
 
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Re: How to use line-break-penalty?

[Joe Neeman]

On Thu, 2008-03-06 at 13:46 +, Mark Knoop wrote:
> I'm trying to use the line-break-penalty property of the
> paper-column-interface to set some preferred line-breaking positions
> (e.g. to prefer a line break at the start of a variation in a set of
> variations, or at a repeat sign). 
> 
> However I'd prefer not to _force_ a line-break with \break as I want the
> source to be usable for different paper and staff sizes. (LaTeX does
> this well with \linebreak[2], for example.)
> 
> I'm using:
> 
> \once \override Score.PaperColumn #'line-break-penalty = #-20
> 
> but it doesn't seem to be having any effect. Any ideas?

There are 3 things I can think of: first, you need to override
Score.NonMusicalPaperColumn instead of Score.PaperColumn (the
PaperColumn contains only notes and other musical objects while the
NonMusicalPaperColumn containes bar lines; line breaks always occur in a
NonMusicalPaperColumn).

The second thing is something that applies whenever you override a paper
column: the override has to be one timestep _before_ the place where it
takes affect. Don't ask me why.

And the third thing is that you may want a value smaller than -20. I
used -100 to no effect (admittedly not on a real-world example).

Hope that helps,
Joe




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