Re: Layout for dummies (fixing staves distances in a system)

[Mats Bengtsson]

Jayaratna wrote:


Dear members,

I am reading this forum since sometimes, as I am doing my first steps in
Lilypond.

I am making a score in which I have two systems of eight staves each per
page (I managed to do that by setting page size to a3 and shrinking it to a4
on printing it: I guess it's not really proper, but I still have to figure
out how to change staves and font size, but this is a different problem).
 


It should be easier to directly reduce the size of the typeset music
so that it fits on A4 paper, by adding a line like
#(set-global-staff-size 18)
at the top of your file (default size is 20), and/or using the first
option mentioned at 
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Fitting-music-onto-fewer-pages#Fitting-music-onto-fewer-pages



Lilypond keeps stretching and narrowing the space between staves, so that my
systems are floating up and down on different pages.

I found some explanations about this already here in the forum, but, as my
english is not good enough and my knowledge of Lilypond is limited, I'd need
some more help.
 


The first thing you should note, is that the spacing mechanisms
are very different in version 2.11 compared to version 2.10, so
many of the hints you find in the mailing list archives from the
last year are not relevant to your version of LilyPond (2.10).

Otherwise, the relevant information for you can be found at
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Vertical-spacing#Vertical-spacing
In short, LilyPond tries to be intelligent about the spacing.

  /Mats


Here is my score block:

%*Score***
\score {




\new StaffGroup <<
\new GrandStaff
<<
\new Staff { \flautoa}
\new Staff { \flautob}  
>>
\new GrandStaff
<<
\new Staff { \Violinoa} 
\new Staff { \Violinob}
>>
\new Staff { \Viola}
\new Staff { \Continuo} 
\new PianoStaff << \cembalo >>


>>

\layout{
\context {
\Score
\override BarNumber #'padding = #2
%#(layout-set-staff-size 8)
}

}
%

How do I get fixed spaces between staves in this code?

I am running Lilypond 2.10.33.

Thanks for your help,
Andrea
 




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

[Stefan Thomas]

Dear Lilypond-users,
I want to make a substitution with the \movement-command ( look at:
http://lsr.dsi.unimi.it/LSR/Item?id=444).
But unfortunately this doesn't work:
langsamer = {  \movement "subito meno mosso" "4" #69 }
How can I change it?
I had another strange experience with the movement-command:
When I exchange "\skip" with "s" in the below quoted example, it works fine,
but in the the opposite case, I get a very strange error message.
Is it a bug?
Here the example:
%%% BEGIN 
#(define ((make-format-movement-markup-function text) duration count
context)
 (markup #:huge #:bold text #:hspace 1
 "("
 #:general-align Y DOWN #:smaller
#:note-by-number (ly:duration-log duration)
 (ly:duration-dot-count duration)
 1
 "="
 (number->string count)
 ")"))


#(define (string->duration duration-string)
 "Parse the `duration-string', e.g. ''4..'' or ''breve.'', and return a
duration object."
 (let* ((length (string-length duration-string))
(dot-index (or (string-index duration-string #\.) length))
(len (substring duration-string 0 dot-index))
(dots (- length dot-index)))
  (ly:make-duration (cond ((string=? len "breve") -1)
  ((string=? len "longa") -2)
  ((string=? len "maxima") -3)
  (else (log2 (string->number len
dots 1 1)))

movement =
#(define-music-function (parser location text duration count music)

   (string? string? integer? ly:music?)
 #{
   \set Score.metronomeMarkFormatter =
#(make-format-movement-markup-function $text)
   \set Score.tempoWholesPerMinute = #$(ly:moment-mul (ly:make-moment count
1)
 (ly:duration-length
   (string->duration duration)))
   \set Score.tempoUnitDuration = #$(string->duration duration)
   \set Score.tempoUnitCount = #$count
   $music
   \set Score.metronomeMarkFormatter = #format-metronome-markup
 #})

 global = { \time 2/4 \skip 2  \time 3/4 \movement "subito meno mosso" "4"
#69  \skip 2. }
 pauke = { \clef bass c4 c c c c}
 schlagzwo = { c'4 c' c' c' c' }
  \paper {
   ragged-bottom = ##f
ragged-last-bottom = ##f %wenn auf "t" gesetzt wird, dann wird das
letzte System abgeschnitten!
bottem-margin = 30 \mm
horizontal-shift = 5 \mm
between-system-space = #2
between-system-padding = #2 %sorgt fuer ordentliche abstaende
page-limit-inter-system-space = ##t

   }




\layout{

  \context { %hier wird ein neuer "Kontext" mit Namen
"timesig" geschaffen
\type "Engraver_group"

\consists "Text_spanner_engraver"
\consists "Text_engraver"
\consists "Dynamic_engraver"
\consists "Axis_group_engraver"
\name "TimeSig"



  }
  \context {
\Score \accepts TimeSig}





 \context { \RemoveEmptyStaffContext }

} %Ende des Layoutblocks!!!\new Score
{ << \set Score.markFormatter = #format-mark-box-letters

\override Score.VerticalAxisGroup #'remove-first = ##t
\new TimeSig  { \override Score.TimeSignature #'style = #'( ) \override
Score.BarNumber #'break-visibility = ##(#t #t #t) %jede Taktzahl wird
gezeigt, spaeter wieder loeschen!!
 \global  }
\new Staff  << \set Staff.instrumentName = "Pauken"
\set Staff.shortInstrumentName = "Pk." {  \pauke  } >>

\new Staff = "Schlagzeug 2" << \set Staff.instrumentName = "Perc. 2"
\set Staff.shortInstrumentName = "Perc. 2" { \schlagzwo  } >>


>>
}
\version "2.11.47"
 END %
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Re: accidentals in augmented unisons

[Trevor Daniels]

Hi Luis

The value given to 'right-padding controls the
distance between the pair of accidentals and the
following note.  To adjust the placement of the
individual accidentals you can use various alignment
markup commands (see Appendix B6.2 in the 2.11
Notation Reference).  Here I've used \halign as an
illustration.  The values are far too extreme for
real use, but they show what can be done.  Fractional
values are permitted to give you fine control - these
will need to be set by experiment.  This is rather
messy as the values interact and the units of \halign
are based on the length of the following string.
There may be a better way.  For example, \hspace can
be used to increase the separation of the accidentals.

naturalplusflat = \markup { \halign #-10 { \natural } \halign #-5 { 
\flat } }

\relative c'' {
  \once \override Accidental
#'stencil = #ly:text-interface::print
  \once \override Accidental #'text = #naturalplusflat
  \once \override Score.AccidentalPlacement #'right-padding = #10
  
}

Trevor

- Original Message - 
From: "luis jure" <[EMAIL PROTECTED]>

To: "lilypond-user" 
Sent: Wednesday, June 11, 2008 12:40 AM
Subject: accidentals in augmented unisons




hello list,

i'm using an example from the learning manual to write a chord with an
augmented unison:

naturalplusflat = \markup { \natural \flat }
\relative c'' {
  \once \override Accidental
#'stencil = #ly:text-interface::print
  \once \override Accidental #'text = #naturalplusflat
  \once \override Score.AccidentalPlacement #'right-padding = #1.5
  
}

this works, but i'd like to control the horizontal position of the
natural and flat symbols. i have no idea how i can achieve this, any
help would be greatly appreciated.

best,

lj


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Re: substitution with \movement

[Valentin Villenave]

2008/6/11 Stefan Thomas <[EMAIL PROTECTED]>:

> But unfortunately this doesn't work:
> langsamer = {  \movement "subito meno mosso" "4" #69 }

You have to add a # before each quoted string:

langsamer = {  \movement #"subito meno mosso" #"4" #69 }

It's in order to tell the Scheme interpreter: "hey, wake up! Here's a
string for you!"

Cheers,
Valentin


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Re: substitution with \movement

[Arjan Bos]

May I chime in a bit here? This prodding of the scheme interpreter is  
one of the few things I do not like in the lilypond syntax. I do love  
LilyPond and as a programmer at heart, I adore its syntax. However, as  
a programmer, it is my duty to let the computer do the work instead of  
the user. This resonates badly with the scheme intergration in the  
lilypond syntax. To my mind, it should be possible for the parser or  
lexer to do a lot more work so that the scheme interpreter is woken-up  
automatically instead of being prompted by a token in the syntax. This  
will result in a much cleaner .ly files.


I'm sure we've all had that feeling. Starting of with typesetting a  
simple melody and then enhancing the lay-out bit by bit until the  
notes are buried underneath a stack of lay-out commands. I do my best  
to separate lay-out from content, but there are situations where this  
is either not possible (like in fingering instructions) or not  
advisable (like with the dynamics). Opening up one of my guitar  
scores, I am daunted by the fact that it looks so complicated that I  
need lots of comments not to get lost.


I am fully aware that it will be a lot of work on the developers side  
to implement this. But please consider it. Let it burn on the back- 
stove for a while, let it stew and when you are ready, please consider  
implementing it. It would make the source-code of our nice looking  
scores so much simpler to read. (And yes, I did consider doing it  
myself, but I'm more a COBOL-guy ;-) )



Kind regards,
Arjan


On 11 jun 2008, at 12:33, Valentin Villenave wrote:


2008/6/11 Stefan Thomas <[EMAIL PROTECTED]>:


But unfortunately this doesn't work:
langsamer = {  \movement "subito meno mosso" "4" #69 }


You have to add a # before each quoted string:

langsamer = {  \movement #"subito meno mosso" #"4" #69 }

It's in order to tell the Scheme interpreter: "hey, wake up! Here's a
string for you!"

Cheers,
Valentin


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Re: Roman numeral analysis

[Jesse Engle]

I hoped there might be a seperate context for roman numerals similar
to the ChordNames context, in which you would specify the roman
numeral and its inversion (and any alterations using figured bass),
along with a duration. Depending on the duration of the chord in
question, the context would automatically create a prolongational line
up to the next chord.

This is just some stuff off the top of my head. I know that figured
bass can already be displayed, but maybe it wouldn't be a bad idea to
have a seperate "FunctionalAnalysis" context that encompasses all that
I just talked about, including figured bass...

At any rate, what are my options?

Thanks!

- Jesse

On Wed, Jun 11, 2008 at 2:43 AM, Mats Bengtsson
<[EMAIL PROTECTED]> wrote:
> Jesse Engle wrote:
>
>> Is it possible to display roman numeral symbols in Lilypond?
>>
>>
>
> Of course, just as you can typeset any other text.
> Or, do you want something more automated that
> treats them specifically as numbers with some special
> musical meaning? If you tell more about what you want
> to use it for, I'm sure you can get a more helpful answer.
>
>  /Mats
>
>> - Jesse
>>
>>
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>
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>Mats Bengtsson
>Signal Processing
>Signals, Sensors and Systems
>Royal Institute of Technology
>SE-100 44  STOCKHOLM
>Sweden
>Phone: (+46) 8 790 8463
>   Fax:   (+46) 8 790 7260
>Email: [EMAIL PROTECTED]
>WWW: http://www.s3.kth.se/~mabe
> =
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Re: Roman numeral analysis

[Hugo Leonardo Ribeiro]

I think this would be a wonderful implamentation for a future version of
Lilypond. I know that lots of people would benefit from a context like this.
Hugo

2008/6/11 Jesse Engle <[EMAIL PROTECTED]>:

> I hoped there might be a seperate context for roman numerals similar
> to the ChordNames context, in which you would specify the roman
> numeral and its inversion (and any alterations using figured bass),
> along with a duration. Depending on the duration of the chord in
> question, the context would automatically create a prolongational line
> up to the next chord.
>
> This is just some stuff off the top of my head. I know that figured
> bass can already be displayed, but maybe it wouldn't be a bad idea to
> have a seperate "FunctionalAnalysis" context that encompasses all that
> I just talked about, including figured bass...
>
> At any rate, what are my options?
>
> Thanks!
>
> - Jesse
>
> On Wed, Jun 11, 2008 at 2:43 AM, Mats Bengtsson
> <[EMAIL PROTECTED]> wrote:
> > Jesse Engle wrote:
> >
> >> Is it possible to display roman numeral symbols in Lilypond?
> >>
> >>
> >
> > Of course, just as you can typeset any other text.
> > Or, do you want something more automated that
> > treats them specifically as numbers with some special
> > musical meaning? If you tell more about what you want
> > to use it for, I'm sure you can get a more helpful answer.
> >
> >  /Mats
> >
> >> - Jesse
> >>
> >>
> >> ___
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> >> http://lists.gnu.org/mailman/listinfo/lilypond-user
> >>
> >
> >
> > --
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> >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]
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> >
> >
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Re: Roman numeral analysis

[Kieren MacMillan]

Hi Jesse, Hugo, et al.:

I think this would be a wonderful implamentation for a future  
version of Lilypond.

I know that lots of people would benefit from a context like this.


Well, in as much as this could possibly be done -- without *immense*  
amounts of programming (and some AI) -- it's already in there:  
ChordNames can certainly be overridden to show (e.g.) "V 6/4" in  
place of "C/G". In other words, using ChordNames.chordNameExceptions  
and \transpose, you can probably already get pretty close to what you  
want in the current version.


As for *real* (i.e., human-equivalent) analysis, it will be extremely  
difficult to have this automated... heck, it's often extremely  
difficult to get two *humans* to agree on the analysis of a given  
musical passage!  ;-)


Hope this helps!
Kieren.


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Re: Roman numeral analysis

[luis jure]

El Wed, 11 Jun 2008 13:29:02 -0400
Kieren MacMillan <[EMAIL PROTECTED]> escribió:

> heck, it's often extremely difficult to get two *humans* to agree on
> the analysis of a given musical passage! 

you're right. that's why it would be a good idea to let the computers
do the job... :-)


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Re: Roman numeral analysis

[Paul Scott]

luis jure wrote:
> El Wed, 11 Jun 2008 13:29:02 -0400
> Kieren MacMillan <[EMAIL PROTECTED]> escribió:
>
>> heck, it's often extremely difficult to get two *humans* to agree on
>> the analysis of a given musical passage!
>
> you're right. that's why it would be a good idea to let the computers
> do the job... :-)
But that analysis software would be programmed by humans.  :)

Paul Scott
>
>
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Re: Roman numeral analysis

[Jesse Engle]

It's not a matter of whether the actual analysis of a musical passage
is right or wrong, the issue is whether or not the software can help
us make the analytical symbols look better, clearer and more concise
-- precisely what Lilypond is all about, if I am not mistaken --
without breaking too much of a sweat to do it.

- Jesse

On Wed, Jun 11, 2008 at 2:26 PM, Paul Scott <[EMAIL PROTECTED]> wrote:
> luis jure wrote:
>> El Wed, 11 Jun 2008 13:29:02 -0400
>> Kieren MacMillan <[EMAIL PROTECTED]> escribió:
>>
>>> heck, it's often extremely difficult to get two *humans* to agree on
>>> the analysis of a given musical passage!
>>
>> you're right. that's why it would be a good idea to let the computers
>> do the job... :-)
> But that analysis software would be programmed by humans.  :)
>
> Paul Scott
>>
>>
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Re: Roman numeral analysis

[Carl Sorensen]

Jesse Engle  gmail.com> writes:

> 
> I hoped there might be a seperate context for roman numerals similar
> to the ChordNames context, in which you would specify the roman
> numeral and its inversion (and any alterations using figured bass),
> along with a duration. Depending on the duration of the chord in
> question, the context would automatically create a prolongational line
> up to the next chord.
> 
> This is just some stuff off the top of my head. I know that figured
> bass can already be displayed, but maybe it wouldn't be a bad idea to
> have a seperate "FunctionalAnalysis" context that encompasses all that
> I just talked about, including figured bass...
> 
> At any rate, what are my options?
> 
> Thanks!
> 

Here are a couple of options I can think of.

1. You could use a FiguredBass context, with roman numeral markups
instead of numbers.  This is very easy, and would survive 
transposition.

2. You could define your own chord names, as Kieren defines later.  
This would require some Scheme hacking, but there is probably a lot 
of existing structure to support it.

3. You could put the roman numerals as markups on the notes.  This is not
elegant, but is easy and survives transposition.

There are probably other things you could do, but I can't think of them 
right now.

Carl





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Re: substitution with \movement

[Nicolas Sceaux]

Le 11 juin 08 à 13:21, Arjan Bos a écrit :

May I chime in a bit here? This prodding of the scheme interpreter  
is one of the few things I do not like in the lilypond syntax. I do  
love LilyPond and as a programmer at heart, I adore its syntax.  
However, as a programmer, it is my duty to let the computer do the  
work instead of the user. This resonates badly with the scheme  
intergration in the lilypond syntax. To my mind, it should be  
possible for the parser or lexer to do a lot more work so that the  
scheme interpreter is woken-up automatically instead of being  
prompted by a token in the syntax. This will result in a much  
cleaner .ly files.


I'm sure we've all had that feeling. Starting of with typesetting a  
simple melody and then enhancing the lay-out bit by bit until the  
notes are buried underneath a stack of lay-out commands. I do my  
best to separate lay-out from content, but there are situations  
where this is either not possible (like in fingering instructions)  
or not advisable (like with the dynamics). Opening up one of my  
guitar scores, I am daunted by the fact that it looks so complicated  
that I need lots of comments not to get lost.


I am fully aware that it will be a lot of work on the developers  
side to implement this. But please consider it. Let it burn on the  
back-stove for a while, let it stew and when you are ready, please  
consider implementing it. It would make the source-code of our nice  
looking scores so much simpler to read. (And yes, I did consider  
doing it myself, but I'm more a COBOL-guy ;-) )



Bullshit.
Tis its extensibility that make LilyPond more likely to be able to
fit the more users needs, and its extensibility is made possible
because LilyPond is programmable (by the users). How could you get
rid off a full featured language -- scheme -- from LilyPond input
files without reimplementing it, badly most certainly.

Granted, so that input files look good, the scheme parts should be
"hidden" in library files. But If your input files are full of scheme
hacks, then it's your problem not being able to write the appropriate
libraries, and it's not a LilyPond issue.

Best regards,
Nicolas



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Automatic note splitting and explicit ties (BUG?)

[Torsten Anders]

Dear all,

I have a problem concerning automatic note splitting (using the  
Completion_heads_engraver) of long notes created by explicit ties.  
Below is an example. This example breaks the dotted halve notes all  
right. The problem is, that the ties between these dotted notes are  
gone: instead of a long note, the result are three shorter notes.


\layout { \context {\Voice
\remove "Note_heads_engraver"
\remove "Forbid_line_break_engraver"
\consists "Completion_heads_engraver" } }

{ \time 3/4 r4 c2. ~ c2. ~ c2.}

Am I missing something, or is this a bug of the  
Completion_heads_engraver?


Thank you!

Best
Torsten

PS: For short explicitly tied note things work fine, though.

--
Torsten Anders
Interdisciplinary Centre for Computer Music Research
University of Plymouth
Office: +44-1752-586227
Private: +44-1752-558917
http://strasheela.sourceforge.net
http://www.torsten-anders.de







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Re: Automatic note splitting and explicit ties (BUG?)

[Graham Percival]

http://code.google.com/p/lilypond/issues/detail?id=498&can=1&q=completion

Cheers,
- Graham

On Wed, 11 Jun 2008 21:42:42 +0100
Torsten Anders <[EMAIL PROTECTED]> wrote:

> Dear all,
> 
> I have a problem concerning automatic note splitting (using the  
> Completion_heads_engraver) of long notes created by explicit ties.  
> Below is an example. This example breaks the dotted halve notes all  
> right. The problem is, that the ties between these dotted notes are  
> gone: instead of a long note, the result are three shorter notes.
> 
> \layout { \context {\Voice
>   \remove "Note_heads_engraver"
>   \remove "Forbid_line_break_engraver"
>   \consists "Completion_heads_engraver" } }
> 
> { \time 3/4 r4 c2. ~ c2. ~ c2.}
> 
> Am I missing something, or is this a bug of the  
> Completion_heads_engraver?
> 
> Thank you!
> 
> Best
> Torsten
> 
> PS: For short explicitly tied note things work fine, though.
> 
> --
> Torsten Anders
> Interdisciplinary Centre for Computer Music Research
> University of Plymouth
> Office: +44-1752-586227
> Private: +44-1752-558917
> http://strasheela.sourceforge.net
> http://www.torsten-anders.de
> 
> 
> 
> 
> 
> 
> 
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Re: Roman numeral analysis

[Gilles Sadowski]

Hi.

> > I hoped there might be a seperate context for roman numerals [...]

I use a \Lyrics context.

Best,
Gilles


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Re: substitution with \movement

[Valentin Villenave]

2008/6/11 Nicolas Sceaux <[EMAIL PROTECTED]>:
> Bullshit.

There may be one point on which I tend to agree with Arjan: it's not
always handy to constantly put a hash character before text strings.

If I remember correctly (but I may have been hallucinating), you have
some functions in your framework that allow you to enter some strings
without preceding them with a hash. Is it correct? How do you do it?

> Tis its extensibility that make LilyPond more likely to be able to
> fit the more users needs, and its extensibility is made possible
> because LilyPond is programmable (by the users). How could you get
> rid off a full featured language -- scheme -- from LilyPond input
> files without reimplementing it, badly most certainly.

If I understood correctly, he's not complaining about the Scheme
integration itself but the way it is parsed.

Cheers,
Valentin


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Re: substitution with \movement

[Graham Percival]

On Wed, 11 Jun 2008 23:28:00 +0200
"Valentin Villenave" <[EMAIL PROTECTED]> wrote:

> 2008/6/11 Nicolas Sceaux <[EMAIL PROTECTED]>:
> > Tis its extensibility that make LilyPond more likely to be able to
> > fit the more users needs, and its extensibility is made possible
> > because LilyPond is programmable (by the users). How could you get
> > rid off a full featured language -- scheme -- from LilyPond input
> > files without reimplementing it, badly most certainly.
> 
> If I understood correctly, he's not complaining about the Scheme
> integration itself but the way it is parsed.

Oh, come on! What is so hard about typing #?  On an English
keyboard, you already need to be pressing the shift key to get the
" that you'll type for your string anyway.

Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.

Cheers,
- Graham


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String syntax, Was: substitution with \movement

[Mats Bengtsson]

Graham Percival wrote:



Oh, come on! What is so hard about typing #?  On an English
keyboard, you already need to be pressing the shift key to get the
" that you'll type for your string anyway.

Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.
 


Do you really mean "all the time", i.e. even in situations like

\new Voice = "one" { ... } 
...

\new Lyrics \lyricsto "one" { ... }


as described in LM 3.2.3, for example? In that case, you've
given your GDP helpers some extra job.

   /Mats


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Re: substitution with \movement

[Valentin Villenave]

2008/6/11 Graham Percival <[EMAIL PROTECTED]>:

> Oh, come on! What is so hard about typing #?  On an English
> keyboard, you already need to be pressing the shift key to get the
> " that you'll type for your string anyway.

Yes, French keyboard layout is much more annoying (it requires
twisting your right hand to have the thumb on AltGr and the middle
finger on the alpha-num "3" key).

> Rewriting the parser for such a trivial thing would be a waste of
> resources.  Just get used to typing #, just like {} or ,' or any
> other piece of lilypond input.  The docs are supposed to use #""
> all the time, to reinforce this point.

Yes, actually I was just interested in some tricks possibly used by
Nicolas... For instance, does it help to use a Scheme "format"
function when creating a shortcut?

Cheers,
Valentin


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Re: String syntax, Was: substitution with \movement

[Graham Percival]

On Wed, 11 Jun 2008 23:57:00 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:

> Graham Percival wrote:
> 
> >Rewriting the parser for such a trivial thing would be a waste of
> >resources.  Just get used to typing #, just like {} or ,' or any
> >other piece of lilypond input.  The docs are supposed to use #""
> >all the time, to reinforce this point.
> >  
> >
> Do you really mean "all the time", i.e. even in situations like
> 
> \new Voice = "one" { ... } 
> ...
> \new Lyrics \lyricsto "one" { ... }

All the time that it's getting passed as a scheme value, for
example
  \set instrumentName = #"cello"

Not for things like
  \markup { this "is some quoted text" }

Cheers,
- Graham


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Re: Roman numeral analysis

[Mats Bengtsson]

If you search the mailing list archive, you will for example find
http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00127.html
which contains an attached example that might be useful.

   /Mats

Jesse Engle wrote:


I hoped there might be a seperate context for roman numerals similar
to the ChordNames context, in which you would specify the roman
numeral and its inversion (and any alterations using figured bass),
along with a duration. Depending on the duration of the chord in
question, the context would automatically create a prolongational line
up to the next chord.

This is just some stuff off the top of my head. I know that figured
bass can already be displayed, but maybe it wouldn't be a bad idea to
have a seperate "FunctionalAnalysis" context that encompasses all that
I just talked about, including figured bass...

At any rate, what are my options?

Thanks!

- Jesse

On Wed, Jun 11, 2008 at 2:43 AM, Mats Bengtsson
<[EMAIL PROTECTED]> wrote:
 


Jesse Engle wrote:

   


Is it possible to display roman numeral symbols in Lilypond?


 


Of course, just as you can typeset any other text.
Or, do you want something more automated that
treats them specifically as numbers with some special
musical meaning? If you tell more about what you want
to use it for, I'm sure you can get a more helpful answer.

/Mats

   


- Jesse


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--
=
  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
=


   




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



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Re: String syntax, Was: substitution with \movement

[Mats Bengtsson]

Graham Percival wrote:


On Wed, 11 Jun 2008 23:57:00 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:

 


Graham Percival wrote:

   


Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.


 


Do you really mean "all the time", i.e. even in situations like

\new Voice = "one" { ... } 
...

\new Lyrics \lyricsto "one" { ... }
   



All the time that it's getting passed as a scheme value, for
example
 \set instrumentName = #"cello"

Not for things like
 \markup { this "is some quoted text" }
 


Which brings us back to the original problem, namely the
inconsistency of the syntax. Even with my 11 years of
LilyPond experience, I have to think both once or twice
to figure out in what syntactical constructs a string is
a Scheme value and when it's not (I'm not even convinced
that it ever can be anything else than a Scheme value,
without checking in the source code). I know the issue
has been discussed before and I don't think it's a big
problem, but it's still an annoyance.

   /Mats

   /Mats


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how do I control the size of the musical fonts?

[Victor Eijkhout]

Meaning, not lyrics, but the notes. Suppose I want to shrink a whole  
score by a few percent so that it takes one page less?


Or in piano + solo instrument, it's customary to print the solo  
slightly smaller in the score. How do I do that?


Victor.



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Re: String syntax, Was: substitution with \movement

[Graham Percival]

On Thu, 12 Jun 2008 00:10:56 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:

> Graham Percival wrote:
> 
> >All the time that it's getting passed as a scheme value, for
> >example
> >  \set instrumentName = #"cello"
> >
> >Not for things like
> >  \markup { this "is some quoted text" }
> >  
> Which brings us back to the original problem, namely the
> inconsistency of the syntax. Even with my 11 years of
> LilyPond experience, I have to think both once or twice
> to figure out in what syntactical constructs a string is
> a Scheme value and when it's not (I'm not even convinced
> that it ever can be anything else than a Scheme value,
> without checking in the source code). I know the issue
> has been discussed before and I don't think it's a big
> problem, but it's still an annoyance.

All the more reason to get the docs clear on this.  :)

If users only ever see #"" in the right place and "" in the
others, plus the info in the LM about this stuff, it should be
fine.

Cheers,
- Graham


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Re: how do I control the size of the musical fonts?

[Mats Bengtsson]

Victor Eijkhout wrote:

Meaning, not lyrics, but the notes. Suppose I want to shrink a whole  
score by a few percent so that it takes one page less?


See section "Setting the staff size" in the reference manual.



Or in piano + solo instrument, it's customary to print the solo  
slightly smaller in the score. How do I do that?


Search for "staff size" in the LSR, http://lsr.dsi.unimi.it

  /Mats


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Re: how do I control the size of the musical fonts?

[Kieren MacMillan]

Hi Victor,

Suppose I want to shrink a whole score by a few percent so that it  
takes one page less?


That info is in the documentation -- specifically, in Section 4.2.1  
("Setting the staff size").


Or in piano + solo instrument, it's customary to print the solo  
slightly smaller in the score. How do I do that?


There are snippets showing you how to do this in the LSR -- search  
for "staff size".


Best wishes,
Kieren.


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Re: how do I control the size of the musical fonts?

[Wilbert Berendsen]

Op donderdag 12 juni 2008, schreef Victor Eijkhout:
> Meaning, not lyrics, but the notes. Suppose I want to shrink a whole
> score by a few percent so that it takes one page less?

http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Global-sizes#Global-sizes
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Fitting-music-onto-fewer-pages#Fitting-music-onto-fewer-pages

> Or in piano + solo instrument, it's customary to print the solo
> slightly smaller in the score. How do I do that?

http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Length-and-thickness-of-objects

I'd use something like:

SoloPartSize = #-1

\score {
  <<
\new Staff \with {
  % smaller notation font
  fontSize = #SoloPartSize
  % make the distance between staff lines smaller as well
  \override StaffSymbol #'staff-space = #(magstep SoloPartSize)
} \soloMusic
\new PianoStaff <<
  \new Staff \rightHandMusic
  \new Staff \leftHandMusic
>>
  >>
}



best regards,
Wilbert Berendsen

-- 
LilyKDE, LilyPond for KDE: http://lilykde.googlecode.com/


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Re: how do I control the size of the musical fonts?

[James E. Bailey]

Am 12.06.2008 um 00:16 schrieb Victor Eijkhout:

Meaning, not lyrics, but the notes. Suppose I want to shrink a whole  
score by a few percent so that it takes one page less?


Or in piano + solo instrument, it's customary to print the solo  
slightly smaller in the score. How do I do that?


Victor.



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You probably want 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Setting-the-staff-size#Setting-the-staff-size

#(set-global-staff-size 12)

or more likely, \new staff \with {fontSize = #-2} which is very  
cleverly hidden in the section on Ossia Staves http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Ossia-staves#Ossia-staves

or \set fontSize = #-2, which is hidden away at 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Changing-context-default-settings#Changing-context-default-settings
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Partial measures at the end of a piece

[Steven Weber]

Is there a good way to have a partial measure at the end of a piece and not
get barcheck warnings?  The manual says that using \partial is only
supported at the beginning of a piece, and you should expect warnings if you
use it elsewhere, but the only other alternative I've come up with is much
less readable:

 

\time 4/4

c1 |

\once \override Score.TimeSignature #'stencil = ##f

\time 3/4

c2. |

 

--Steven

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Re: Roman numeral analysis

[Hugo Leonardo Ribeiro]

2008/6/11 Mats Bengtsson <[EMAIL PROTECTED]>:

> If you search the mailing list archive, you will for example find
> http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00127.html
> which contains an attached example that might be useful.
>
>
That is what I was talking about. But, anyway, it is still within Lyrics
context. The idea would be to make an 'analysis' context with the inversions
symbols already done. All we would need is to type the right command... It's
my dream!

When I use Mathew Durrel example, I have to include the chord.ly file
everytime. If Lilypond had a code like that inside it, would be easier for
all.

Hugo
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Re: Partial measures at the end of a piece

[Kieren MacMillan]

Hi Steven,


Is there a good way to have a partial measure at the
end of a piece and not get barcheck warnings?


Since it's the end of the piece, why not just leave off the final |  
in your code?
Its absence will not stop the actual (visible/engraved) barline from  
appearing...


If you really want to "kill-fill the bar" but keep the | in your  
code, you could always use


\time 4/4
c1 |
c2.*4/3 |

Hope this helps!
Kieren.


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Re: substitution with \movement

[Frédéric Moinard]

Bonjour,

Valentin Villenave a écrit :

Yes, French keyboard layout is much more annoying (it requires
twisting your right hand to have the thumb on AltGr and the middle
finger on the alpha-num "3" key).


Va falloir ajouter les doigtés dans les traductions de la doc, alors, et 
prévoir des sous-parties,


%% hmm, ou num3-5 pour les petites mains?
\fravecpave {  }

%% Pour un portable:
\frsanspave { << {altGr-1} \\ %main droite
 {clav3-3}%main gauche
  >>
 }

vu que tout à main droite sans pavé et sans bouger le coude est réservé 
aux mains immenses et aux coudes hyperlaxes.


--
bon bon je retourne travailler au lieu d'embêter les gens,

  Frédéric



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Re: substitution with \movement

[Frédéric Moinard]

I Wrote:
(...)
Va falloir ajouter les doigtés dans les traductions de la doc, alors, et 

(...)

Shame on me!
Wrong addresses...(and Snippet?id=435)

--
Sorry,

  FM



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Re: Layout for dummies (fixing staves distances in a system)

[Jayaratna]

Thank you, Mats,

The #(set-global-staff-size 18) works properly: it didn't work for me
because I put it in the wrong place.

I tried the two pass vertical spacing, but still the staves float, even if
the pages now have a better look.

I think I really have to go through this:

http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Explicit-staff-and-system-positioning#Explicit-staff-and-system-positioning

It still looks very obscure to me, but I'll study it thoroughly and if I
need some more help I'll write again.

Thanks again,
Andrea


Mats Bengtsson-4 wrote:
> 
> Jayaratna wrote:
> 
>>Dear members,
>>
>>I am reading this forum since sometimes, as I am doing my first steps in
>>Lilypond.
>>
>>I am making a score in which I have two systems of eight staves each per
>>page (I managed to do that by setting page size to a3 and shrinking it to
a4
>>on printing it: I guess it's not really proper, but I still have to figure
>>out how to change staves and font size, but this is a different problem).
>>  
>>
> It should be easier to directly reduce the size of the typeset music
> so that it fits on A4 paper, by adding a line like
> #(set-global-staff-size 18)
> at the top of your file (default size is 20), and/or using the first
> option mentioned at 
> http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Fitting-music-onto-fewer-pages#Fitting-music-onto-fewer-pages
> 
>>Lilypond keeps stretching and narrowing the space between staves, so that
my
>>systems are floating up and down on different pages.
>>
>>I found some explanations about this already here in the forum, but, as my
>>english is not good enough and my knowledge of Lilypond is limited, I'd
need
>>some more help.
>>  
>>
> The first thing you should note, is that the spacing mechanisms
> are very different in version 2.11 compared to version 2.10, so
> many of the hints you find in the mailing list archives from the
> last year are not relevant to your version of LilyPond (2.10).
> 
> Otherwise, the relevant information for you can be found at
> http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Vertical-spacing#Vertical-spacing
> In short, LilyPond tries to be intelligent about the spacing.
> 
>/Mats
> 
>>Here is my score block:
>>
>>%*Score***
>>\score {
>>
>>
>>
>>
>>  \new StaffGroup <<
>>  \new GrandStaff
>>  <<
>>  \new Staff { \flautoa}
>>  \new Staff { \flautob}  
>>  >>
>>  \new GrandStaff
>>  <<
>>  \new Staff { \Violinoa} 
>>  \new Staff { \Violinob}
>>  >>
>>  \new Staff { \Viola}
>>  \new Staff { \Continuo} 
>>  \new PianoStaff << \cembalo >>
>>  
>>  
>>  >>  
>>
>>  \layout{
>>  \context {
>>  \Score
>>  \override BarNumber #'padding = #2
>>  %#(layout-set-staff-size 8)
>>  }
>>  
>>  }
>>%
>>
>>How do I get fixed spaces between staves in this code?
>>
>>I am running Lilypond 2.10.33.
>>
>>Thanks for your help,
>>Andrea
>>  
>>
> 
> 
> -- 
> =
>   Mats Bengtsson
>   Signal Processing
>   Signals, Sensors and Systems
>   Royal Institute of Technology
>   SE-100 44  STOCKHOLM
>   Sweden
>   Phone: (+46) 8 790 8463 
> Fax:   (+46) 8 790 7260
>   Email: [EMAIL PROTECTED]
>   WWW: http://www.s3.kth.se/~mabe
> =
> 
> 
> 
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-- 
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Re: substitution with \movement

[Arjan Bos]

On 11 jun 2008, at 23:48, Graham Percival wrote:



Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.


If it were only for `#' denoted strings, I agree with you, but there  
are plenty of other inconsistencies in the LilyPond syntax that are  
fully understandable from the viewpoint of the program, but make  
almost no sense from the user's. For example, I do understand the  
differences between \set \override and \tweak and when to apply them.  
The differences have to do with the type of objects you're dealing  
with. But I don't know those by heart. I have to look up which one it  
is everytime I need an \override or \set or \tweak. When rewriting the  
parser / lexer to do more work for us, it would be nice to see these  
three commands unified into one and have LilyPond figure out which one  
to apply. And I'm sure others have similar examples.


And, to make it clear, I'm font of the scheme expandability of  
LilyPonds syntax, it's just that maintaining a source-file with lot's  
of strings in them can be very awkward.


But to reiterate, this might be a lot of work. So this would be  
something to think about for the next year or so and only then perhaps  
implement.


Groeten,
Arjan


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