date:20100205

On 2010-02-05, Helge Kruse wrote:
> I found a lilypond script on a programmer's website. It shall print
> piano keys. But this gives only errors when I compile it with
> lilypond. Would it be really possible to achieve what is requested
> or is it just a joke?
> 
> Here is the link: http://kuerzer.de/DpMHSdKCO

Sure!  That's quite interesting.

Attached is the "unobfuscated" code that compiles just fine.  I'm not
entirely sure what's wrong with the original, but it might be that
there is too *little* whitespace somewhere.  :-)

Here is some example output:

  $ echo A 7 | lilypond obfuscated.ly 2>/dev/null 
  ##  ###   |   ###  ###   |   ###  ##
  ##  ###   |   ###  ###   |   ###  ##
  ##  ###   |   ###  ###   |   ###  ##
  ##  ###   |   ###  ###   |   ###  ##
  ##  ###   |   ###  ###   |   ###  ##
  ||||||||
  ||||||||
  ||||||||
  ||||||||


-Patrick
\version "2.12.1"

x = #ly:string-substitute

u = #(x "*" "###  " "|   *** |   ** ")

"q" =#read-char

t = #(x "###" " | " u)

z = #(q)

v = #(if (eq? (q) #\#) 1 0)

y = #(iota (+ (* (read) 5) 1 v))

#(format #t "~{~{~a~}\n~}"
   (map
 (lambda (s)
   (map
 (lambda (i)
   (string-ref s (modulo (+ (* (char->integer z) 5) i (* v 4)) 35)))
 y))
 (list u u u u u t t t (x " " "_" t
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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Karl Hammar

Michael J. O'Donnell:
> I am pondering offering engraving services with LilyPond. I wonder if
> there are people ready and willing to share information on the
> possibility to make modest money this way.

Why not, it comes down to finding the customer.
A former teacher of mine did engraving, but that business went away 
because the asians was to cheap.

...
> I have no idea how much they accomplish in one hour. I like the relative
> objectivity of a charge per note.

The notes are the things that is most easily entered into the file.
The most time consuming is all the other things you have to have there.
In that sense you could just as well charge per page.

If you are in a bigger project, charge by the hour, since there will be 
changes. And the changes takes more time than the first entry.

But, I believe you will always be underpaid doing engraving, so it 
might be just as easy to set a fixed charge.

> So, if there is enough interest (i.e., at least 2 other people), I
> suggest that we develop a discussion within the LilyPond Wiki:

I suggest we stick to this mailing list. Discussions through a web 
interface are more cumbersome for me.

> If there's enough response, I'll join the Wiki, make sure that this is
> within it's scope, and provide a front page. So far, I have some
> examples to share, and a crude sed script for counting notes.

Scripts for getting statistics from lilypond files would be useful to 
have in the lsr. There are other uses for them than as charge meters.

Regards,
/Karl

---
Karl HammarAspö Data   k...@aspodata.se
Lilla Aspö 148 Networks
S-742 94 Östhammar  +46  173 140 57   Computers
Sweden +46  70 511 97 84 Consulting
---




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Re: Quality images for Wikipedia - several questions

Hi Steve,

You have you "reply to all" to keep messages on the list.

On 2010-02-05, Steve Taylor wrote:
> On 5 February 2010 17:49, Patrick McCarty  wrote:
> 
> >  lilypond -dbackend=svg myfile.ly
> 
> Yes, that works, apart from the cropping.  I should try uploading one of
> these files to wikimedia and testing it with various browsers and operating
> systems.  So all I'd need is a script that crops an SVG image down to its
> actual content.

Hopefully you'll find that it works everywhere.  :-)

My goal was to make sure LilyPond produces SVG files that comply with
SVG 1.1 and SVG Tiny 1.2, and I'm pretty sure I covered the
inconsistencies between the two recommendations.

> > What suggested solutions are you referring to?
> >
> I've been trying a script called 'ps2svg' although I haven't yet
> successfully installed 'skencil' due to dependencies.  Using lilypond -f ps
> and then eps2eps -dNOCACHE seems to produce a cropped postscript image.
> Another script I found seemed to use PNG in an intermediate step, which
> seems counter to the vector graphics format to me.

Oh, I see, to try converting LilyPond's PostScript output to SVG.  I
understand now.

I've never tried this approach, but if it works okay, this would
probably be the easiest option for now.

> > Not yet.  This is on my TODO list.  Specifically, it requires
> > implementing an output-preview-framework:
> >
> > http://code.google.com/p/lilypond/issues/detail?id=968
> 
> Great!  I look forward to seeing this in action.  I hope it's not too
> complicated to implement?

It shouldn't be too difficult.  I tried implementing it over the
summer, but gave up due to some strange document-dimension problems I
was encountering.

But those issues might have been resolved in the meantime.

> > You could use Inkscape to crop the SVG files though.  I can't provide
> > precise instructions at the moment since I haven't done this in a
> > while.
> >
> Due to the potentially large number of such files I would like to create,
> any additional manual step is going to slow the process down.  But if anyone
> could point me towards a script or (linux) command to do this, that would be
> great.

I can't think of any tool that would be useful in this case and still produce
nice-looking SVG output.  "convert" from ImageMagick doesn't work very
well with SVG.

I'll move the output-preview-framework up on my TODO list, since it
would be incredibly useful.

Thanks,
Patrick

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Re: Remove key change warning at end of line

2010-02-05 Thread Mats Bengtsson




Tom Dickson wrote:

I have a piece where I want to change keys without the key change being shown 
at the end of the previous line.

\relative c' {
\override Staff.TimeSignature #'stencil = ##f
\key bes \major
g'1 g1 \bar "|." | \break
\set Staff.printKeyCancellation = ##f
\override Staff.KeySignature #'stencil = ##f
%   \key g \major
%   \time 1/64
%   s64 \bar "" |
%   \override Staff.KeySignature #'stencil = ##t
\key e \minor
\time 1/2
g4. e8 | \break
g4. e8 |
}

is close to what I want, but then the KeySignature is lost for all subsequent 
lines.

If I uncomment those lines above, I get a bad hack that almost works perfectly, 
except for the random 1/64 skip in there that makes the lines not line up.

Is there a way to do what I want?
  
See 
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Visibility-of-objects#index-key-signature_002c-visibility-following-explicit-change

The magic command is:
\set Staff.explicitKeySignatureVisibility = #end-of-line-invisible

   /Mats

-tom

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--
=
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: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
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Re: Circular Staff in Inkscape [was Re: Lilypond vs Score]

2010-02-05 Thread Francisco Vila

2010/2/4 Francisco Vila :
> 2010/2/4 Bertalan Fodor (LilyPondTool) 
>>
>> Circular staves ARE possible with pure LilyPond, just look at this:
>>
>
> Great and almost perfect, except for the six-line staff

What version did you use? I can not reproduce the example either in
2.13.12 nor 2.13.13, see attached PNG

360 is better than 361 for the arc. PNG result gives no difference,
but gedit shows the overlap.



-- 
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: Remove key change warning at end of line

2010-02-05 Thread Trevor Daniels



Tom Dickson wrote Friday, February 05, 2010 4:27 AM


I have a piece where I want to change keys without 
the key change being shown at the end of the previous line.


The two sections "Using break-visibility" and
"Special considerations", both in section 5.4.7 of the 
Notation Reference will show you how to do this.  The

"Special considerations" section contains the information
you need.

Trevor
   




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Re: PDF vs HTML links

2010-02-05 Thread Francisco Vila

2010/2/5 Nick Payne :
> There are links that work in the PDF version of the documentation but not in
> the HTML version. For example, in the latest 2.13.12 PDF documentation, on
> p.224 of the Notation Reference (selected fingering snippets), there are
> links at the bottom of the page to the StringNumber and Fingering sections
> of the Internals Reference that work correctly so long as I have the
> Internals PDF in the same directory.
>
> However, those same links in the online HTML documentation
> (http://lilypond.org/doc/v2.13/Documentation/notation/common-notation-for-fretted-strings)
> point to non-existent pages. I haven't downloaded the HTML doc to to see if
> behaviour is the same when installed locally.

Those links should point to

http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings
http://lilypond.org/doc/v2.13/Documentation/internals/strokefinger

But the server is case-sensitive about names, so these don't work:

http://lilypond.org/doc/v2.13/Documentation/snippets/Fretted-strings
http://lilypond.org/doc/v2.13/Documentation/internals/StrokeFinger

-- 
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com


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Re: Circular Staff in Inkscape[was Re: Lilypond vs Score]

2010-02-05 Thread Bertalan Fodor

2.12 i suppose that the difference in the default spacing or margins causing 
this


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Best practice when typesetting transposing instruments.

2010-02-05 Thread Kirill

Hi LilyPond Gurus,

I cannot quite find figure out from the manual which is a better practice when
typesetting transposing instruments (say, a B\flat clarinet):

1) Specifying \transposition bes { ... } and then writing out the
transposed part. Or
2) Using \transpose bes, c {\transposition bes ...} and notating in C?

Thanks.



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The "Gigsaw": about polymetric

2010-02-05 Thread Philippe Hezaine


Hi all,

For the upcoming upgrade release the Drummer's "Gigsaw" will be becoming
an polymetric editor for drums and percussions (with midi velocities).
I'm currently writing a few demos and in the following one i'm wondering
if I can get rid of this issues:

1. The output is OK but I have many Avertissement : échec du contrôle de
mesure (barcheck) in the console because of the whole rests. Of course
the Gigsaw's process follows the same way. I read the answer of Mats
Bengtsson a few days ago about the same problem with polymetric bars.
But may be I'm missing something in the layout or the \score. If you
have time can you look at this file?
Sorry that isn't a minimal exemple. Deliberately the bar check are
commented. In this case it doesn't matter. In case I'm not wrong
wouldn't be an example for a feature request?

2. As said in Lilypond's title of MY-SONG I need to display more
correctly the music. Simply play with set-global-staff-size.
Is there an another way to improve this display?
In this case \bar"||" and \break do nothing (it's an extreme solution
for the Gigsaw which aims to be the most user-friendly) and you could
easily write an harder example with 4 Staff where the bars aren't
simultaneous.
Thanks to Lilypond!
Note: Lilypond version of the Gigsaw: 2.12.2
I have a lot of fun with it.
If someone is interested I can join the resulting midi file processes
with velocities in a next post.
--
Phil.
Superbonus-Project (Site principal) 

Superbonus-Project (Plate-forme d'échange):








%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"
%This file is part of Le Puzzle du Batteur/The Drummer's Gigsaw.   %
%  %
%Le Puzzle du Batteur/The Drummer's Gigsaw is free software: you can   %
%redistribute it and/or modify it under the terms of the GNU General Public%
%License as published by the Free Software Foundation, either version 3 of %
%the License, or (at your option) any later version.   %
%  %
%Le Puzzle du Batteur/The Drummer's Gigsaw is distributed in the hope that %
%it will be useful, but WITHOUT ANY WARRANTY; without even the implied %
%warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the %
%GNU General Public License for more details.  %
%  %
%You should have received a copy of the GNU General Public License along   %
%with Le Puzzle du Batteur/The Drummer's Gigsaw.   %
%If not, see .   %
%	   %
%   Copyright Â© 2008, 2009   Philippe HARDY%
%  %
%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"%"

\version "2.12.2"

 \include "/home/phil/Desktop/Drummer-s-Gigsaw-Experimental/Drummer-s-Gigsaw/Le-grenier/0-mydrums-style2.ly"

 #(ly:set-option 'delete-intermediate-files #t)
 #(set-global-staff-size 16) % Pour changer la taille des portÃ©es.

\paper {
	between-system-padding = 8\mm
%	between-system-space = 25\mm
	ragged-bottom = ##f
	ragged-last-bottom = ##f
}

\header { 
  title = "MY SONG-demo-03 (affichage - display: staff-size 16)"

copyright =  \markup { \fontsize #3  \bold  \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box  \column { \center-align { \fontsize #-2 \line {  â¢ \hspace #0.5 Copyleft: cette oeuvre est libre, vous pouvez la copier, la diffuser et la modifier. }  \line { \fontsize #-2 \line { CrÃ©Ã© avec LilyPond 2.12.1   \with-url #"http://www.LilyPond.org"; \line { \with-color #blue \fontsize #-1 www. \hspace #-1.0 \with-color #blue LilyPond \hspace #-1.0 \with-color #blue \fontsize #-1 .org } par Ph. Hardy } } \line { \fontsize #-4 \line {Copyleft 12/2008: selon les termes de GNU GPLv3 or later, voir: \hspace #-0.5 \with-url #"http://www.gnu.org/licenses/";  \with-color #blue  http://www.gnu.org/licenses/  } } } } } 

tagline =  \markup { \fontsize #3  \bold   \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box  \column { \center-align { \fontsize #-2 \line {  â¢ \hspace #0.5 Copyleft: cette oeuvre est libre, vous pouvez la copier, la diffuser et la modifier. }  \line { \fontsize #-2 \line { CrÃ©Ã© avec LilyPond 2.12.1  \with-url #"http://www.LilyPond.org"; \line { \with-color #blue \fontsize #-1 www. \hspace #-1.0 \with-color #blue LilyPond \hspace #-1.0 \with-color #blue \fontsize #-1 .org } par Ph. Hardy } } \line { \fontsize #-4 \line {Copyleft 12/2008: selon les termes de GNU GPLv3 or later, voir: \hspace #-0.5 \with-url

Re: Best practice when typesetting transposing instruments.

2010-02-05 Thread Mats Bengtsson

It all depends on what you find convenient and what source material you 
have available.
For example, sometimes you have a set of hand-written orchestral parts 
that you want to make readable, in which case it's easiest to input the 
notes as they are written in the original parts (including transposition).
On the other hand, if you are composing, it's probably easier to input 
the notes as they should sound and let LilyPond take care of the 
transposition.


   /Mats

Kirill wrote:

Hi LilyPond Gurus,

I cannot quite find figure out from the manual which is a better practice when
typesetting transposing instruments (say, a B\flat clarinet):

1) Specifying \transposition bes { ... } and then writing out the
transposed part. Or
2) Using \transpose bes, c {\transposition bes ...} and notating in C?

Thanks.



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--
=
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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: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
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Fw: Quality images for Wikipedia - several questions

2010-02-05 Thread Gerard McConnell

Are there any concerns about the images not being viewable on some 
browsers

or operating systems (e.g. missing fonts)?


Hello,
I'm using LilyPond 2.12 and Inkscape 0.47 on Win XP.
The following doesn't exactly answer your question but is related.
When SVG output from LilyPond is loaded into Inkscape the time signature 
font is wrong.  You can open the SVG file in a text editor and do a search 
and replace for the font family, replacing "alphabet-26" with 
"emmentaler".
Gerard 




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Re: String number in/out of the staff

2010-02-05 Thread Bobber



Nick Payne wrote:
\override Fingering #'staff-padding = #'() % vertical 
fingering inside the staff
\override StringNumber #'staff-padding = #'() % vertical 
string numbers inside the staff
\override StrokeFinger #'staff-padding = #'() % vertical 
stroke fingering inside the staff


This was it, thanks Nick!  Hey, this is getting to be fun.  So cool that 
I can put my stuff into a very nice output with a FOSS tool!


--
Bob Wooldridge
Blog: http://kc0dxf.net/blog/



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Re: PDF vs HTML links

On Fri, Feb 5, 2010 at 10:13 AM, Francisco Vila  wrote:
> Those links should point to
>
> http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings
> http://lilypond.org/doc/v2.13/Documentation/internals/strokefinger

I believe this is now fixed in git.

Cheers,
- Graham


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Re: Best practice when typesetting transposing instruments.

2010-02-05 Thread Gilles Sadowski

Hello.

> I cannot quite find figure out from the manual which is a better practice when
> typesetting transposing instruments (say, a B\flat clarinet):

I use the following (assuming that the music contents is in variable
"clarinetNotes" and that the "global" variable namely contains the "\key"
declaration in concert pitch):

1. If the music has been entered in concert pitch:
%---CUT---
\transposition bes {
  \transpose c d {
<<
  \global
  \clarinetNotes
>>
  }
}
%---CUT---

2. If the music has been entered in Bb-clarinet pitch:
%---CUT---
\transposition bes {
  \transpose bes c {
<<
  \global
  \transpose c bes {
\clarinetNotes
  }
>>
  }
}
%---CUT---

Best,
Gilles


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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Caio Barros

I've already done some paid engraving, but only with Finale and Sibelius
(because i'm new to lilypond), first as a scholarship, I got paid to be the
copist of my university's orchestra, and then I've done some freelance jobs.
I think unless you are very lucky is almost impossible to become a
professional engraver (as a full-time job). You mostly do some minor jobs
here and there.
As I see, Lilypond could be better used in other ways than the music
industry (like for academic research) and be the "most famous" program in
those areas, but this is another topic...

2010/2/5 Karl Hammar 

> Michael J. O'Donnell:
> > I am pondering offering engraving services with LilyPond. I wonder if
> > there are people ready and willing to share information on the
> > possibility to make modest money this way.
>
> Why not, it comes down to finding the customer.
> A former teacher of mine did engraving, but that business went away
> because the asians was to cheap.
>
> ...
> > I have no idea how much they accomplish in one hour. I like the relative
> > objectivity of a charge per note.
>
> The notes are the things that is most easily entered into the file.
> The most time consuming is all the other things you have to have there.
> In that sense you could just as well charge per page.
>
> If you are in a bigger project, charge by the hour, since there will be
> changes. And the changes takes more time than the first entry.
>
> But, I believe you will always be underpaid doing engraving, so it
> might be just as easy to set a fixed charge.
>
> > So, if there is enough interest (i.e., at least 2 other people), I
> > suggest that we develop a discussion within the LilyPond Wiki:
>
> I suggest we stick to this mailing list. Discussions through a web
> interface are more cumbersome for me.
>
> > If there's enough response, I'll join the Wiki, make sure that this is
> > within it's scope, and provide a front page. So far, I have some
> > examples to share, and a crude sed script for counting notes.
>
> Scripts for getting statistics from lilypond files would be useful to
> have in the lsr. There are other uses for them than as charge meters.
>
> Regards,
> /Karl
>
> ---
> Karl HammarAspö Data   k...@aspodata.se
> Lilla Aspö 148 Networks
> S-742 94 Östhammar  +46  173 140 57   Computers
> Sweden +46  70 511 97 84 Consulting
> ---
>
>
>
>
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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Bertalan Fodor (LilyPondTool)



Michael J. O'Donnell wrote:

I am pondering offering engraving services with LilyPond. I wonder if
there are people ready and willing to share information on the
possibility to make modest money this way.
  


I think the problem with this is that most customers nowadays have big 
expectations on having an audible version. For example Sibelius ships 
with Garritan Personal Orchestra, and Sibelius generates a quite usable 
audio rendering of the score.


Bert



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Re: vertical spacing


Am 05.02.2010 um 02:08 schrieb Neil Puttock:

> Try setting padding in between-system-spacing:
> 
> \paper {
>  between-system-spacing = #'((padding . 1))
> }
> 
> Regards,
> Neil

Thanks, but
when I put this line in my paper block it does have no effect, what am I doing 
wrong?


ole

%

\version "2.13.7"
 
\header { tagline =  ##f }
 \layout {  \context 
{  \Score
\remove "Bar_number_engraver"  }   }

\paper { indent= 0\cm  ragged-right= ##t  
 between-system-spacing = #'((padding . 3))  }
\book {
 
\score {
\new Staff {
\relative c'' { 
g8 f f2. |\break
c4 bes4 r2

}
}

\header { piece = "One"
opus =  "Kurzfassung" 
}

}

 \score {
\new Staff {
\relative c'' { 
g8 f f2. |\break
c4 bes4 r2

}
}
}
\header { piece = "Two"
opus =  "Kurzfassung" 
}



 }





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Fwd: vertical spacing

oops, it does have an effect, but between the wrong systems (see attached jpg),how can I achive distance between the first two and the second two systems?thanksole              <>Am 05.02.2010 um 02:08 schrieb Neil Puttock:Try setting padding in between-system-spacing:\paper { between-system-spacing = #'((padding . 1))}Regards,NeilThanks, butwhen I put this line in my paper block it does have no effect, what am I doing wrong?ole%\version "2.13.7"\header { tagline =  ##f } \layout { 	\context   	{  \Score  	\remove "Bar_number_engraver"  }   }  	\paper { indent= 0\cm  ragged-right= ##t  	 	 between-system-spacing = #'((padding . 3))  }\book {\score {\new Staff {\relative c'' { 			g8 f f2. |\break		c4 bes4 r2}}\header { piece = "One"	opus =  "Kurzfassung" }} \score {\new Staff {\relative c'' { 			g8 f f2. |\break		c4 bes4 r2}}}\header { piece = "Two"	opus =  "Kurzfassung" } }___
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Fwd: vertical spacing

oops, it does have an effect, but between the wrong systems (see attached jpg),how can I achive distance between the first two and the second two systems?thanksole              <>Am 05.02.2010 um 02:08 schrieb Neil Puttock:Try setting padding in between-system-spacing:\paper { between-system-spacing = #'((padding . 1))}Regards,NeilThanks, butwhen I put this line in my paper block it does have no effect, what am I doing wrong?ole%\version "2.13.7"\header { tagline =  ##f } \layout { 	\context   	{  \Score  	\remove "Bar_number_engraver"  }   }  	\paper { indent= 0\cm  ragged-right= ##t  	 	 between-system-spacing = #'((padding . 3))  }\book {\score {\new Staff {\relative c'' { 			g8 f f2. |\break		c4 bes4 r2}}\header { piece = "One"	opus =  "Kurzfassung" }} \score {\new Staff {\relative c'' { 			g8 f f2. |\break		c4 bes4 r2}}}\header { piece = "Two"	opus =  "Kurzfassung" } }___
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Re: Best practice when typesetting transposing instruments.

2010-02-05 Thread James Lowe


This will depend on who else is seeing the music.

For example I transpose a lot of music for the conductor of my orchestra 
(as some of us can't do it in our heads that easily), but I always set 
it in the original (i.e. if the conductor has it in A on their score I 
set it in A). That way if there any mistakes made I can always go back 
to the original rather than have to work out the mistakes to fix.


It also allows for a lot more flexibility for any other instruments who 
may take the parts - we don't have a full complement of instruments so 
for those instruments we don't have we spread them around others that 
may not necessarily be in the same key.


I then set up duplicate lines in my \score {..} and simply comment out 
the transposition I don't want.


Also, because it helps me, I actually use \transpose c c { \music } so 
that when I have a long list


\score {
  <<
%\transpose c c { \music }
\transpose a bes { \music }
%\transpose a ees { \music }
%\transpose a d { \music }
  >>
}


and so on. I use the >> as I also add first and second parts at the same 
time and depending if the requirement is to have two staves or a single one.


It's easy to see which line gives me the original key when I am flicking 
between the two for checking.


One other tip though, after typesetting a long piece and fiddling about 
with line breaks and positioning the fermatas/rehearsal marks and so on, 
when you transpose, the position of the staves can change dramatically 
(especially if you move from say, f major in A to a B flat instrument 
when yuo suddenly get 4 sharps - this will add lots of accidentals and 
also the 4 sharps take more room at the beginning of each line than 1 
flat does - and this can really mess things up.


So I would not bother tweaking too much if you are finally going to 
transpose in one key and it changes things.


James


Kirill wrote:

Hi LilyPond Gurus,

I cannot quite find figure out from the manual which is a better practice when
typesetting transposing instruments (say, a B\flat clarinet):

1) Specifying \transposition bes { ... } and then writing out the
transposed part. Or
2) Using \transpose bes, c {\transposition bes ...} and notating in C?

Thanks.



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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Colin Campbell


Michael J. O'Donnell wrote:

I am pondering offering engraving services with LilyPond. I wonder if
there are people ready and willing to share information on the
possibility to make modest money this way.

I found one (slightly broken) thread in the archives:

http://lists.gnu.org/archive/html/lilypond-user/2007-10/msg00482.html

http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg2.html

which indicates that several people use LilyPond for professional
projects, but they seem to be activities within a larger job, rather
than pay specifically for engraving.

  


One possibility which may be worth exploring, would be the use of a 
program like Audiveris ( https://audiveris.dev.java.net/ ), which is an 
optical music recognition system, as a way to restore print material. 
Audiveris puts out MusicXML or even MIDI, which you'd import into 
LilyPond and make elegant as desired. Many musical organisations have 
libraries which could benefit from being made digital, for example.


Another notion might be to look for contracts with local music schools: 
offer engraving services to composition classes and the like.


All the best in the endeavour!

Colin

--
When you find a big kettle of crazy, it's best not to stir it.
- Scott Adams, "Dilbert" Sept 22,'09



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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Jack Cooper

Hi Michael, 

I would be interested in joining a discussion related to engraving and (dare I 
say)
publishing with Lilypond, whether the discussion is part of a wiki, part of this
group or part of a splinter group..

I have had a few freelance jobs fall my way and I know of folks who have hired
freelance engravers to create musical output.  The software used for engraving
doesn't seem to be relevant- depending on the use of the music output, either
a pdf or graphic image of the output is the end product.  I did have one project
where the client wanted Finale files of the score along with the pdf output.  I 
am set
up with both Finale and Lilypond as well as translation tools (pdftomusicxml,
dolet for finale) so I am able to transfer output with a little tweaking to 
current
or older finale versions.

I talked to a few engravers and did some research on how engraving projects
are charged.  There are a lot of complicated pricing schemes in place (charge
by the note,  measure, page, instrument, etc.) but in the end it seemed to
make sense to me to estimate how long it would take me to do the job and
charge accordingly.  I quote an hourly rate, but my 'hours' will vary on the
project and budget.  I also take into account that my skills are still 
developing
so it isn't fair to charge for development time, where I am learning some new
trick that will take me less time when I've had more experience.

My main business isn't engraving but actually publishing printed songbooks
and digital sheet music.  As someone else mentioned, pdf output is what
is accepted by most printers, so how you get there is up to you.
In the digital realm, someone mentioned Sibelius as having the only real
solution for online scores (apart from pdfs, where you generally have no
control over who can access, copy and print the files).  I am currently
working with a company called Legato music (formerly MusicRain) that
has developed a technology for publishing online digital interactive sheet
music.  The current customer rep, Peter Maund, used to work for 
Sibelius as the representative/support for Sibelius Scorch.  Legato
uses MusicXML files as input and allows for extensive digital content
management.  I am currently converting some of my Lilypond-generated
songs into MusicXML and am working on integrating Legato sales
into my online ecommerce site.



 
-- 
Jack Cooper, BerLen Music
www.berlenmusic.com
www.jack-cooper.com



- Original Message 
> From: Michael J. O'Donnell 
> To: lilypond-user@gnu.org
> Sent: Thu, February 4, 2010 7:59:51 PM
> Subject: Community of professional LilyPond engravers?
> 
> I am pondering offering engraving services with LilyPond. I wonder if
> there are people ready and willing to share information on the
> possibility to make modest money this way.
> 
> I found one (slightly broken) thread in the archives:
> 
> http://lists.gnu.org/archive/html/lilypond-user/2007-10/msg00482.html
> 
> http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg2.html
> 
> which indicates that several people use LilyPond for professional
> projects, but they seem to be activities within a larger job, rather
> than pay specifically for engraving.
> 
> I found one person offering Finale engraving ranging from 2 cents to 5
> cents per note:
> 
> http://home.earthlink.net/~rscarbro/russell/music_prep.htm
> 
> but I didn't understand precisely what he was charging for. His examples
> looked to me inferior to LilyPond results, but they were in low
> resolution pictures.
> 
> I found a list of people offering mostly Finale engraving from $20 to
> $80 per hour:
> 
> http://www.musicengravers.com/
> 
> I have no idea how much they accomplish in one hour. I like the relative
> objectivity of a charge per note.
> 
> So, if there is enough interest (i.e., at least 2 other people), I
> suggest that we develop a discussion within the LilyPond Wiki:
> 
> http://wiki.lilynet.net/index.php/Main_Page
> 
> If there's enough response, I'll join the Wiki, make sure that this is
> within it's scope, and provide a front page. So far, I have some
> examples to share, and a crude sed script for counting notes.
> 
> Cheers,
> 
> Mike O'Donnell
> 
> 
> ___
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RemoveEmptyStaffContext erases previous setting

I found out the hard way that apparently adding \RemoveEmptyStaffContext 
globally to a score will erase some previous settings. In particular, if you 
have:

\layout {
  \context { \Staff
ignoreFiguredBassRest = ##f
  }
}

\layout {
  \context { \RemoveEmptyStaffContext }
}

then the score will still use ignoreFiguredBassRest=##t (which is the 
default). If you don't add the RemoveEmptyStaffContext, then ##f is used.

Attached is an example file displaying this behavior.

Is this a bug? In my eyes, it is quite severe, because it means you can't 
trust  lilypond any more. If you check e.g. the individual parts (which do not 
add the RemoveEmptyStaffContext) for errors, you cannot be sure any more that 
the full score or e.g. the  choral score are correct, too!

Cheers,
Reinhold

PS: What is the reason anyway to have 
  ignoreFiguredBassRest = ##t
for the Staff context? Bass figures on rests ARE used and have a well-defined 
meaning (namely that they take the next bass note as reference, but play the 
harmony on the rest already). It seems that Han-Wen added this feature a while 
ago and set the default to ##t, but didn't really give any good reason to 
silently discart bass figures on rests... 
So, are there any reasons against making ##f the default (i.e. NOT silently 
discarding vital bass figures)???

-- 
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
 * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
 * LilyPond music typesetting software, http://www.lilypond.org/
\version "2.13.11"
\pointAndClickOff

\header {
  title = "RemoveEmptyStaffContext erases previous settings"
  subtitle = "ignoreFiguredBassRest=##f in this case"
}


\layout {
  \context {
\Staff
ignoreFiguredBassRest = ##f
  }
}

% If the RemoveEmptyStaffContext is commnted out, everything works 
% (i.e. figures on rests ARE printed),
% But when you add the RemoveEmptyStaffContext, ignoreFiguredBassRest 
% is reset to ##f !!!

\layout {
  \context {
\RemoveEmptyStaffContext
  }
}

  \new Score {
\new Voice << 
  \figuremode { <6>4 <6> <3> <3> | <5> <5> <7> <7> } 
  \relative c'' { c2 c4 c | c r r c } 
>>
}


RemoveEmptyStaff_EraseSettings.pdf
Description: Adobe PDF document
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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Kale Good

I'm about to graduate college with a music degree and am trying to
figure out how to make a living with it (other than teaching guitar).
Engraving with Lilypond is one of my many ideas. I've done a few
small-scale compositions on it and am nowhere near the fluency level I
would need to do this professionally, but you can count me in as well.

Kale Good
www.phillyguitarlessons.com



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Re: RemoveEmptyStaffContext erases previous setting

2010-02-05 Thread Neil Thornock

My understanding is that LilyPond can only take one \layout block -
no?  So any subsequent layout block will override the previous one.
Have you tested this with settings other than RemoveEmptyStaffContext,
to see if two layout blocks will work under any other condition?

I don't think it's buggy at all.  You just need separate layout blocks
for different components of your project.  I always have one for
scores and a different one for parts.

On Fri, Feb 5, 2010 at 8:14 AM, Reinhold Kainhofer
 wrote:
> I found out the hard way that apparently adding \RemoveEmptyStaffContext
> globally to a score will erase some previous settings. In particular, if you
> have:
>
> \layout {
>  \context { \Staff
>    ignoreFiguredBassRest = ##f
>  }
> }
>
> \layout {
>  \context { \RemoveEmptyStaffContext }
> }
>
> then the score will still use ignoreFiguredBassRest=##t (which is the
> default). If you don't add the RemoveEmptyStaffContext, then ##f is used.
>
> Attached is an example file displaying this behavior.
>
> Is this a bug? In my eyes, it is quite severe, because it means you can't
> trust  lilypond any more. If you check e.g. the individual parts (which do not
> add the RemoveEmptyStaffContext) for errors, you cannot be sure any more that
> the full score or e.g. the  choral score are correct, too!
>
> Cheers,
> Reinhold
>
> PS: What is the reason anyway to have
>  ignoreFiguredBassRest = ##t
> for the Staff context? Bass figures on rests ARE used and have a well-defined
> meaning (namely that they take the next bass note as reference, but play the
> harmony on the rest already). It seems that Han-Wen added this feature a while
> ago and set the default to ##t, but didn't really give any good reason to
> silently discart bass figures on rests...
> So, are there any reasons against making ##f the default (i.e. NOT silently
> discarding vital bass figures)???
>
> --
> --
> Reinhold Kainhofer, Vienna University of Technology, Austria
> email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
>  * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
>  * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
>  * LilyPond music typesetting software, http://www.lilypond.org/
>
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>



-- 
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Check out the newly designed website!
http://neilthornock.net
Assistant Professor of Music
Composition/Theory
Brigham Young University


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Re: RemoveEmptyStaffContext erases previous setting

On Friday 05 February 2010 17:50:28 you wrote:
> My understanding is that LilyPond can only take one \layout block -
> no?  So any subsequent layout block will override the previous one.

No,that's not true. You can have several layout blocks. Attached is an 
example, where the first block removes the time signature and the second one 
removes the clef.

> I don't think it's buggy at all.  You just need separate layout blocks
> for different components of your project.  I always have one for
> scores and a different one for parts.

Actually, I have one large package that sets an overall style for 
professional-looking scores (actually global settings for overall-style and 
another package that changes settings depending on whether it is used for a 
full score or for an instrumental part). This package is supposed to be used 
for multiple projects.

And then each score of a project might need some different settings, too. Of 
course you want to be able to change global settings and per-score settings, 
thus multiple (cascaded) layout blocks are absolutely required for 
professional scores.

Cheers,
Reinhold

-- 
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
 * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
 * LilyPond music typesetting software, http://www.lilypond.org/
\version "2.13.11"
\pointAndClickOff

\header {
  title = "LilyPond scores can have more than one layout block"
}

\layout {
  \context {
\Staff
\remove "Time_signature_engraver"
  }
}

\layout {
  \context {
\Staff
\remove "Clef_engraver"
  }
}

  \new Score {
\new Voice << 
  \figuremode { <6>4 <6> <3> <3> | <5> <5> <7> <7> } 
  \relative c'' { c2 c4 c | c r r c } 
>>
}

OneLayoutBlock.pdf
Description: Adobe PDF document
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Re: RemoveEmptyStaffContext erases previous setting

On Fri, Feb 5, 2010 at 3:14 PM, Reinhold Kainhofer
 wrote:
> I found out the hard way that apparently adding \RemoveEmptyStaffContext
> globally to a score will erase some previous settings.

Yes.  \removeEmptyStaffContext copies the new context over the
previous one.  Or something like this.

I remember a discussion about this, 2-5 years ago, on either the
bug-lilypond list or lilypond-devel list.  Han-Wen said it wasn't a
bug; after the explanation, Mats (who began arguing against it)
agreed.

If somebody more knowledgeable than me (i.e. Reinhold :)  wants to dig
up the discussion an continue the debate, I'd be all for that.

Cheers,
- Graham

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Re: RemoveEmptyStaffContext erases previous setting

2010-02-05 Thread Mats Bengtsson

Quoting Neil Thornock :

My understanding is that LilyPond can only take one \layout block -
no? So any subsequent layout block will override the previous one.

No! You can have several layout blocks and the accumulated result of
all settings is used.

I don't think it's buggy at all. You just need separate layout blocks
for different components of your project. I always have one for
scores and a different one for parts.

Seems like a bad idea if large parts of the settings are the same for
both scores and parts.

The problem that Reinhold mentions is well-known and is documented in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Changing-context-default-settings#Changing-context-default-settings

The simple solution is to change the order, so that you do \layout {
\context { \RemoveEmptyStaffContext }
}

before any other

\layout {
\context { \Staff
...
}
}

To understand why this happens, you have to know that

\layout {
\context { \Staff
...
means that the current settings for the Staff context are used as a
starting point and all following lines are additions to these settings.
When the closing } appears, the resulting list of settings is saved as
the new settings for the Staff context.

On the other hand, \RemoveEmptyStaffContext is a variable containing a
full list of settings, which replace the current list of settings for a
Staff context.

A pedagogical problem is that the syntax looks the same in both cases,
but what really happens is fundamentally different. Apart from the
warning in the manual, mentioned above, the only way to know if
\layout{
\SomeName
...

will do one or the other, is to look in the file
.../ly/engraver-init.ly and see if \SomeName is defined as a variable
or if it's the name of a context.

Section 5.1 Interpretation Contexts, in the Notation Reference, will
hopefully provide enough details to understand what I just wrote.

If would be pedagogically simpler to realize this difference if the
syntax was separate if you define a context from scratch (as is the
case with \RemoveEmptyStaffContext) or if it's defined by adding onto
an existing context. For example, a syntax like

\context{
% Copy the current settings of the Staff context:
\use Staff
% do whatever additional settings
}

could be used to distinguish from

\context{
% Take settings from a variable:
\Variable
% do whatever additional settings
}

and

\context{
% Start from scratch:
\type ...
\name ...
\consists ...
...
}

/Mats

On Fri, Feb 5, 2010 at 8:14 AM, Reinhold Kainhofer
wrote:

I found out the hard way that apparently adding \RemoveEmptyStaffContext
globally to a score will erase some previous settings. In particular, if you
have:

\layout {
\context { \Staff
ignoreFiguredBassRest = ##f
}
}

\layout {
\context { \RemoveEmptyStaffContext }
}

then the score will still use ignoreFiguredBassRest=##t (which is the
default). If you don't add the RemoveEmptyStaffContext, then ##f is used.

Attached is an example file displaying this behavior.

Is this a bug? In my eyes, it is quite severe, because it means you can't
trust lilypond any more. If you check e.g. the individual parts
(which do not
add the RemoveEmptyStaffContext) for errors, you cannot be sure any
more that
the full score or e.g. the choral score are correct, too!

Cheers,
Reinhold

PS: What is the reason anyway to have
ignoreFiguredBassRest = ##t
for the Staff context? Bass figures on rests ARE used and have a
well-defined
meaning (namely that they take the next bass note as reference, but play the
harmony on the rest already). It seems that Han-Wen added this
feature a while
ago and set the default to ##t, but didn't really give any good reason to
silently discart bass figures on rests...
So, are there any reasons against making ##f the default (i.e. NOT silently
discarding vital bass figures)???

--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien,
http://www.fam.tuwien.ac.at/
* Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
* LilyPond music typesetting software, http://www.lilypond.org/

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Check out the newly designed website!
http://neilthornock.net
Assistant Professor of Music
Composition/Theory
Brigham Young University

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Re: RemoveEmptyStaffContext erases previous setting

On Friday 05 February 2010 18:05:52 you wrote:
> On Fri, Feb 5, 2010 at 3:14 PM, Reinhold Kainhofer
> 
>  wrote:
> > I found out the hard way that apparently adding \RemoveEmptyStaffContext
> > globally to a score will erase some previous settings.
> 
> Yes.  \removeEmptyStaffContext copies the new context over the
> previous one.  Or something like this.

Yes, it works as follows: The \removeEmptyStaffContext variable stores the 
newly created Staff-derived context in the init file (i.e. when 
removeEmptyStaffContext is defined, so it contains only the default settings 
for 
Staff). All subsequent changes to the Staff context are of couse not applied to 
the removeEMptyStaffContext variable. 
When you insert RESC into your score, however, the current Staff context is 
replaced by the value of the RESC, which does not contain any of your changes.

So, while it is clear how things work when you know the internals, I definitely 
regard this a bad bug, as something innocent as automatically removing empty 
staves has lethal side-effects (e.g. on figured bass and all different 
unrelated 
areas!).

So, from a developer perspective, the current behavior might be expected, but 
it is definitely not what any sane USER would expect. And for me this is the 
definition of a bug.

I think RESC should be somehow recoded to apply only the relevant changes when 
it is actually called, but not store the whole Staff context at definition time.

Cheers,
Reinhold
-- 
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
 * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
 * LilyPond music typesetting software, http://www.lilypond.org/

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Re: RemoveEmptyStaffContext erases previous setting

On Friday 05 February 2010 18:20:23 you wrote:
> The simple solution is to change the order, so that you do \layout {
>   \context { \RemoveEmptyStaffContext }
> }
> 
> before any other
> 
> \layout {
>   \context { \Staff
> ...
>   }
> }
> 

That's not easily possible if you want to have global settings for multiple 
projects (i.e. a packages), some project-related settings (possibly overriding 
the global defaults) and some score-related settings (overriding the project-
wide settings). The RESC will typically be used in score-related settings 
files. Now, to override the project-wide settings, the score-specific settings 
file needs to be included after the project-wide settings. On the other hand, 
for RESC to work correctly, it needs to be included BEFORE the project-wide 
and before the global settings!!!

THe only way is to split the settings files yet up another time and diligently 
check that you got the order correct!

Anyway, I'll see if I can find a way to recode RESC to not store the whole 
Staff 
context at definition time, but only apply the desired settings whencalled. I 
suspect that some Scheme magic might be able to do the trick.
Cheers,
Reinhold
-- 
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
 * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
 * LilyPond music typesetting software, http://www.lilypond.org/

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Re: The "Gigsaw": about polymetric

2010-02-05 Thread Philippe Hezaine


Oops! I forgot to join 0-mydrums-style2.ly with my file.
It's more easy like that.
--
  Phil.

\version "2.12.0"

#(define mydrums-style2 '(

  (acousticbassdrum () #f -3)
  (bassdrum () #f -3)
  (sidestick cross #f 1)
  (acousticsnare () #f 1)
  (snare () #f 1)
  (handclap triangle #f 1)
  (electricsnare () #f 1)
  (lowfloortom () #f -4)
  (closedhihat cross "stopped" 3)
  (hihat cross #f 3)
  (highfloortom () #f -2)
  (pedalhihat cross #f -5)
  (lowtom () #f -1)
  (openhihat cross "open" 3)
  (halfopenhihat xcircle #f 3)
  (lowmidtom () #f 0)
  (himidtom () #f 2)
  (crashcymbala xcircle #f 5)
  (crashcymbal xcircle #f 5)
  (hightom () #f 4)
  (ridecymbala cross #f 5)
  (ridecymbal cross #f 5)
  (chinesecymbal mensural #f 5)
  (ridebell () #f 5)
  (tambourine () #f 6)
  (splashcymbal diamond #f 5)
  (cowbell triangle #f 5)
  (crashcymbalb xcircle #f 6)
  (vibraslap diamond #f 4)
  (ridecymbalb cross #f 4)

  (lobongo () #f -1)
  (openlobongo () "open" -1)
  (mutelobongo () "stopped" -1)
  (hibongo () #f 1)
  (openhibongo () "open" 1)
  (mutehibongo () "stopped" 1)

  (loconga () #f -2)
  (openloconga () "open" -1)
  (muteloconga () "stopped" -1)
  (hiconga () #f 2)
  (openhiconga () "open" 2)
  (mutehiconga () "stopped" 2)

  (hitimbale () #f -5)
  (lotimbale () #f -6)
  (hiagogo diamond #f -5)
  (loagogo diamond #f -6)
  (cabasa cross #f 6)
  (maracas diamond #f 6)
  (shortwhistle cross "staccato" -2)
  (longwhistle cross  "tenuto" -2)
  (shortguiro cross "staccato" -4)
  (longguiro cross "tenuto" -4)
  (guiro cross #f -4)
  (cowbell triangle #f 5)
  (claves diamond #f 0)
  (hiwoodblock () #f -3)
  (lowoodblock () #f -4)
  (mutecuica diamond "open" 1)
  (opencuica diamond "stopped" 1)
  (triangle cross #f 0)
  (opentriangle cross "open" 0)
  (mutetriangle cross "stopped" 0)
))


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Re: Rehearsal marks

2010-02-05 Thread Werner

I'm more confused about, rehearsel marks are always *centered* over the element,
they belong to. (Would like to have the possibility of left-align.)

Because the rehearsel marks give the possibility, to get information in every
single-voice but also in the whole partitur - there only once automatically, its
a great thing. But I failed with tries like:
\mark \markup {\halign #1 {A \italic {fließend, frei im Rhythmus} } }
(I wanted the A above the first note and the text just behind...)

I had to define two marks, the second bound to another note, which is not always
good, if not every voice has the same note-values atthe beginning.

Maybe it would help
<>
maybe not, I even didn't try.
Maybe
s1*0 \mark ... a8 \mark ...
could solve the problem.
But not always the spacer rests behave as I suppose.
To longer text-Spanners or sustain they don't work very well.
There and maybe here also can help something like
\once \override NoteHead #'transparent = ##t
\grace c1
grace doesn't trouble the bar-check and a whole note has only a head, which wont
be printed. (make shure there are no ledger lines or accidentals)



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[2.13] Problem with two consecutive interruped lyrics

2010-02-05 Thread Dmytro O. Redchuk

Hi.

I have a score with two stave and two lyrics lines both of which have
"long pauses" --- let's say, a half of staff singing and next half ---
silence.

And i want to place both lyrics lines between these two stave. The
problem is that 2.12 could place both lyric lines at the same baseline
(twolyrics-2.12.3.png, attached), however i can not force 2.13 to do the
same (twolyrics-2.13.12.png).

Snippet (one measure):

% ---8<-

melody = \relative c'' {
  c c c c
}

upperLyr = \lyricmode {
  la la _ _
}

lowerLyr = \lyricmode {
  _ _ la la
}

\score {
  \new ChoirStaff <<
\new Staff = "upper" {
  \new Voice = "upper" {
\melody
  }
}
\new Lyrics \lyricsto "upper" \upperLyr
\new Staff = "lower" {
  \new Voice = "lower" {
\melody
  }
}
\new Lyrics \with {
  alignAboveContext = "lower"
} \lyricsto "lower" \lowerLyr
  >>
}

% ---8<-

So, two images illustrate my "problem", please help.

I've tried with affinity and spacing parameters but failed. I could make
a gap a bit smaller, not more.

Thanks!

-- 
  Dmytro O. Redchuk
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Re: Fw: Quality images for Wikipedia - several questions

On Fri, Feb 5, 2010 at 3:37 AM, Gerard McConnell  wrote:
>> Are there any concerns about the images not being viewable on some
>> browsers
>> or operating systems (e.g. missing fonts)?
>>
> Hello,
> I'm using LilyPond 2.12 and Inkscape 0.47 on Win XP.
> The following doesn't exactly answer your question but is related.
> When SVG output from LilyPond is loaded into Inkscape the time signature
> font is wrong.  You can open the SVG file in a text editor and do a search
> and replace for the font family, replacing "alphabet-26" with "emmentaler".

Hi Gerard,

The SVG output in LilyPond 2.12 has issues related to font-family,
font-size, etc.  You are using the right approach to fix the problem.

Also note that these problems have been fixed in LilyPond 2.13.4 or later.

Thanks,
Patrick


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Re: Best practice when typesetting transposing instruments.

2010-02-05 Thread David Rogers



Kirill wrote:


I cannot quite find figure out from the manual which is a better practice when
typesetting transposing instruments (say, a B\flat clarinet):

1) Specifying \transposition bes { ... } and then writing out the
transposed part. Or
2) Using \transpose bes, c {\transposition bes ...} and notating in C?


Mats wrote:

It all depends on what you find convenient and what source material 
you have available.
For example, sometimes you have a set of hand-written orchestral 
parts that you want to make readable, in which case it's easiest to 
input the notes as they are written in the original parts (including 
transposition).
On the other hand, if you are composing, it's probably easier to 
input the notes as they should sound and let LilyPond take care of 
the transposition.




To be even more general:

Whatever "source material" you have (no matter whether it's a paper
copy, your own ideas, or something else) should be notated directly. For
example, if you play a transposing instrument and you are thinking in
terms of that instrument while you compose, then write it as you think
it. This will reduce errors, and if you do make errors they will be
easier to find. Transposition commands are easy. Errors are not so easy.

In short, avoid mentally transposing as you type.


--
David


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Re: Community of professional LilyPond engravers?

2010-02-05 Thread Wilbert Berendsen

I sometimes perform paid engraving, e.g. arrangements or scores with 
translated lyrics for choirs. I do this with LilyPond. For me LilyPond is very 
usable to make very good-looking scores. In the coming years I hope to do more 
engraving and have some income from it.

best regards,
Wilbert Berendsen

-- 
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
Nederlands LilyPond forum: http://www.lilypondforum.nl/


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placing fermata over bar of music

2010-02-05 Thread Paul Scott


Hi,

Should the following work?  I'm looking for a way to put a centered 
fermata over a bar of music.

(In the actual case I want a tremolo under the fermata.)

\version "2.13.12"

\new Staff << { s1^\fermataMarkup } { a1 } >>

TIA,

Paul Scott





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Easy noteheads

2010-02-05 Thread Robert Clausecker

Dear Lilypond Team

Thank you for your quick response. I just upgraded to 2.13.9 and
anything's fine. But I found another error:

Easy noteheads are not working using svg-backend.

Yours, Robert



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Re: vertical spacing

Am 05.02.2010 um 02:08 schrieb Neil Puttock:

> 
> http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#Page-formatting
> 
> Try setting padding in between-system-spacing:
> 
> \paper {
>  between-system-spacing = #'((padding . 1))
> }
> 
> Regards,
> Neil


this increases the distance, but between the wrong systems (see attached 
picture)
how can I change the distance between the two \score blocks?
Can someone please take a look at my code- I do not understand exactly how to 
use \book

thanks  ole

<>


%%

\version "2.13.7"
 
\header { tagline =  ##f }
 \layout {  \context 
{  \Score
\remove "Bar_number_engraver"  }   }
\paper { indent= 0\cm  ragged-right= ##t   between-system-spacing = 
#'((padding . 20)) } 
\book {
 
\score {
\new Staff {
\relative c'' { 
g8 f f2. |\break
c4 bes4 r2

}
}

\header { piece = "One"
opus =  "Kurzfassung" 
}

}

 \score {
\new Staff {
\relative c'' { 
g8 f f2. |\break
c4 bes4 r2

}
}
}
\header { piece = "Two"
opus =  "Kurzfassung" 
}



 }

%%

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Re: Easy noteheads

On Fri, Feb 5, 2010 at 1:47 PM, Robert Clausecker  wrote:
>
> Thank you for your quick response. I just upgraded to 2.13.9 and
> anything's fine. But I found another error:
>
> Easy noteheads are not working using svg-backend.

Hi Robert,

Can you be more specific about the error you are seeing, and possibly
send a screenshot of the resulting SVG?

Thanks,
Patrick


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Re: placing fermata over

2010-02-05 Thread Patrick Karl


On 5 Feb 2010 at 14:50 Paul Scott wrote:


Should the following work?  I'm looking for a way to put a centered
fermata over a bar of music.
(In the actual case I want a tremolo under the fermata.)

\version "2.13.12"

\new Staff << { s1^\fermataMarkup } { a1 } >>


At version 2.12.2 the right way to do that is apparently:

\version "2.12.2"

\new Staff {  a'1 \mark \markup { \musicglyph #"scripts.ufermata" } }

However, that apparently doesn't work for the very last bar line;  
even in the documentation in Section 1.2.5 of the Notation Reference  
an apparently irrelevant measure is placed after the bar line with  
the centered fermata.


Anyone know why it doesn't work for the last bar line?
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Community on LilyPond Wiki for professional engraving

2010-02-05 Thread Michael J. O'Donnell

There was enough interest that I whipped up a few pages on LilyPond Wiki
for the community of "LilyPond Professional Toads," interested in
professional use of LilyPond:

http://wiki.lilynet.net/index.php/Professional_Toads

I intend "professional" to be interpreted as broadly as you like. You
don't need to be making money now, you just need to be interested in the
community.

Those interested parties, please get yourself an account on the Wiki:
http://wiki.lilynet.net/index.php?title=Special:UserLogin&type=signup
You'll wait about a day for your account. You can look at stuff in the
meantime.

It's a Wiki. If you don't like something, including the silly title,
change it.

One person wished for an email discussion. I am seeking a more organized
long-term collection of information, and find the Wiki just right for
that. I don't intend to set up anything for email discussion. But, I
will try to keep relevant threads on lilypond-user linked in. If someone
starts a more focused mailing list for professional LilyPonding, I will
point to it.

Y'all come.

Mike O'Donnell



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Re: Easy noteheads

2010-02-05 Thread Carl Sorensen


On 2/5/10 2:47 PM, "Robert Clausecker"  wrote:

> Dear Lilypond Team
> 
> Thank you for your quick response. I just upgraded to 2.13.9 and
> anything's fine. But I found another error:
> 
> Easy noteheads are not working using svg-backend.

They work just fine on 2.13.12.

Carl



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Re: Rehearsal marks

2010-02-05 Thread Trevor Daniels



Werner wrote Friday, February 05, 2010 6:37 PM


I'm more confused about, rehearsel marks are always *centered* 
over the element,
they belong to. (Would like to have the possibility of 
left-align.)


The horizontal alignment of rehearsal marks can be changed by
overriding the 'break-align-anchor-alignment property of the
object the rehearsal mark is aligned to, which is, by default, a bar 
line.


Alternatively the rehearsal mark can be moved horizontally by
any distance by overriding the ''break-align-anchor property of the
object the rehearsal mark is aligned to.

You can also align rehearsal marks to other objects, such as
key signatures.

All this is explained with examples in Section 5.5.1 of the Notation
Reference, in the "Using the break-alignable-interface" sub-section.

HTH

Trevor





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Re: Rehearsal marks

2010-02-05 Thread Werner

Hello Trevor.

> All this is explained with examples in Section 5.5.1 of the Notation
> Reference, in the "Using the break-alignable-interface" sub-section.

Great.

I think there should be a link in 
NR 1.2.5 Bars
[1.2.5.4] Rehearsal marks
to
NR 5.5.1 Aligning Objects
[5.5.1.4] Using the break-alignable-interface

Otherwise its hard to find!

Btw - why not one level more in the toc ?

Thanks for the good hint!

Werner



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Re: vertical spacing

2010-02-05 Thread Xavier Scheuer

On 5 February 2010 23:05, Ole Schmidt  wrote:

> this increases the distance, but between the wrong systems (see
> attached picture) how can I change the distance between the two
> \score blocks?

I suppose you mean the distance between the last system of first \score
and the title of second \score, right?

Then, as explained in Neil's documentation "Page formatting", the variable to
use is "before-title-spacing".

Use this for example:

  \paper {
before-title-spacing = #'((space . 20))
  }

If you don't have a title between two \score blocks, then you would use
"between-scores-system-spacing" (and not between-system-spacing, be
careful of the name, which is similar but the first one is about
spacing between two systems **if they are in different scores**).

> Can someone please take a look at my code- I do not understand
> exactly how to use \book

If there is something wrong/unclear with the documentation
http://lilypond.org/doc/v2.13/Documentation/source/Documentation/notation/multiple-scores-in-a-book
please let us now.

I rewrote you file structure correctly (the \header of a score must be
*within* the \score block, after the music expression).
I also changed the indentation (which software do you use to input .ly
files, that produced this indentation?).

Regards,
Xavier

PS: "Kurzfassung" as opus seems a bit odd in the result...  ;)

\version "2.13.7"

\header {
  tagline = ##f
}

\layout {
  \context {
\Score
\remove "Bar_number_engraver"
  }
}

\paper {
  indent = 0\cm
  ragged-right = ##t
  before-title-spacing = #'((space . 20))
}

\book {
  \score {
\new Staff {
  \relative c'' {
g8 f f2. | \break
c4 bes4 r2
  }
}
\header {
  piece = "One"
  opus = "Kurzfassung"
}
  }

  \score {
\new Staff {
  \relative c'' {
g8 f f2. | \break
c4 bes4 r2
  }
}
\header {
  piece = "Two"
  opus = "Kurzfassung"
}
  }

}

--
Xavier Scheuer 

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Re: polymetric parts - ???BUG???

2010-02-05 Thread Werner

Neil Puttock  gmail.com> writes:

> Please post you test file; it's difficult to diagnose what's wrong otherwise.
> 
> Regards,
> Neil

Playing around I found out, that it doesn't work if there are the lines
  \context { \RemoveEmptyStaffContext 
% \context { \AncientRemoveEmptyStaffContext 
 \override VerticalAxisGroup #'remove-first = ##t
  }
  }
in the layout block.
If these lines are commented out %
everything fine.
Try the following test-file.


\version "2.13.11"

\paper {
#(set-paper-size "a4")
top-margin = 0.5\cm
bottom-margin = 2\cm
left-margin = 2\cm
right-margin = 2\cm 
ragged-last-bottom = ##t
}

#(set-global-staff-size 19)


\header {
tagline = \markup \fontsize #-2 "Notensatz mit dem freien Programm 
LilyPond
(www.lilypond.org)"
}

\include "deutsch.ly"

Cello = \relative c {
  \clef bass
  \key c \major

\time 3/4
\mark Cis
e8 a~ a gis c4 | r8 e, a4 gis8 c~ | c e, a8. gis16 c4 | e,8 a r16 gis c8 des a 
| 
\mark D
% pos already 2/4
gis8 d e4 

e,4 

r2 r4

\bar "||"
\mark Dis
% both 2/4
\time 2/4
a4 cis | d d8 cis | d e f a | a \breathe e a b | c d b a | gis f e d | 

}



Posaune = \relative c {
  \clef bass
  \key c \major

\time 3/4
\mark Cis
r4 r8 c, f8. e16 | gis4 c,8 f~ f e | gis4 c,8 f r16 e gis8~ | gis c, f2 
\bar "||" 
\mark D
\time 2/4 
% vc still 3/4

e4 gis 
 
a4 a8 gis 

a8 c d f | 

\mark Dis
% both 2/4
e4 \breathe e | f e | d c~ | c f,~ | f e | d2 | 

}

\score {
  <<
\new Staff { \set Staff.instrumentName = #"Violoncello" 
\set Staff.shortInstrumentName = #"c"
\Cello  }
\new Staff { \set Staff.instrumentName = #"Posaune" 
\set Staff.shortInstrumentName = #"p"
\Posaune  }

% % % % \set Score.skipBars = ##t
>>
\layout {
  \context {
\Score
\remove "Bar_number_engraver" 
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
% \remove "Time_signature_engraver"
  }
  \context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
% \consists "Time_signature_engraver"
%   \override SpacingSpanner #'uniform-stretching = ##t
%   \override SpacingSpanner #'strict-note-spacing = ##t
%proportionalNotationDuration = #(ly:make-moment 1 64)
}
  \context { \RemoveEmptyStaffContext 
% \context { \AncientRemoveEmptyStaffContext 
 \override VerticalAxisGroup #'remove-first = ##t
  }
  }
}






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Re: placing fermata over

2010-02-05 Thread Paul Scott


Patrick Karl wrote:

On 5 Feb 2010 at 14:50 Paul Scott wrote:


Should the following work?  I'm looking for a way to put a centered 
fermata over a bar of music.

(In the actual case I want a tremolo under the fermata.)

\version "2.13.12"

\new Staff << { s1^\fermataMarkup } { a1 } >>


At version 2.12.2 the right way to do that is apparently:


Thanks for responding.  However I don't want the fermata over a bar 
line.  I want it over the music between two bar lines.


Actually your response reminded me why what I tried might not work since 
\fermataMarkup is designed for full measure rests.  I'm still looking 
for a way to put a fermata over a tremolo but see below for your question.




\version "2.12.2"

\new Staff {  a'1 \mark \markup { \musicglyph #"scripts.ufermata" } }

However, that apparently doesn't work for the very last bar line; even 
in the documentation in Section 1.2.5 of the Notation Reference an 
apparently irrelevant measure is placed after the bar line with the 
centered fermata.


Anyone know why it doesn't work for the last bar line?


To get it to work on the last bar line use:

\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible

Paul




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Re: Rehearsal marks

On Sat, Feb 06, 2010 at 12:04:04AM +, Werner wrote:
> I think there should be a link in 
> NR 1.2.5 Bars
> [1.2.5.4] Rehearsal marks
> to
> NR 5.5.1 Aligning Objects
> [5.5.1.4] Using the break-alignable-interface
> 
> Otherwise its hard to find!

That sounds reasonable.  James?

> Btw - why not one level more in the toc ?

It's a trade-off between ease of use and completeness.  We tried
it out with a full TOC in the beginning, but the overwhelming
opinion was that this was too hard to use.

If you follow the "Contents" link from the main Notation page,
you'll get a full TOC in the right-hand side.

Cheers,
- Graham

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Re: polymetric parts - ???BUG???

On Sat, Feb 06, 2010 at 12:17:56AM +, Werner wrote:
> Playing around I found out, that it doesn't work if there are the lines
>   \context { \RemoveEmptyStaffContext 
> % \context { \AncientRemoveEmptyStaffContext 
>  \override VerticalAxisGroup #'remove-first = ##t
>   }
>   }
> in the layout block.
> If these lines are commented out %
> everything fine.
> Try the following test-file.

That's too large.  Please create a tiny example:
http://lilypond.org/doc/v2.13/Documentation/web/tiny-examples

Cheers,
- Graham


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Re: Remove key change warning at end of line

2010-02-05 Thread Tom Dickson


On 2010/02/05, at 2:10 AM, Trevor Daniels wrote:

> The two sections "Using break-visibility" and
> "Special considerations", both in section 5.4.7 of the Notation Reference 
> will show you how to do this.  The
> "Special considerations" section contains the information
> you need.
> 
> Trevor

Thanks!

\relative c' {
\override Staff.TimeSignature #'stencil = ##f
\key bes \major
g'1 g1 \bar "|." | \break
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(instrument-name
  left-edge
  ambitus
  span-bar
  breathing-sign
  clef
  key-signature
  time-signature
  staff-bar
  custos
  span-bar))
\bar "||:"
\set Staff.printKeyCancellation = ##f
\set Staff.explicitKeySignatureVisibility = #begin-of-line-visible
\override Staff.KeySignature #'break-visibility = #begin-of-line-visible
\key e \minor
\time 1/2
g4. e8 | \break
g4. e8 \bar ":|" |
}

works perfectly for what I wanted.



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Re: RemoveEmptyStaffContext erases previous setting