RE: Lyrics

[Maarten de Keijzer]

Thanks,
With the following 'script' and syllables enclosed by "" I get a score
including the text:

\score {
<<
\new Devnull = "inv" { \chd }
\new ChordNames {
\set chordChanges = ##t
\chd
}
\new Staff <<
\new Voice = "upper" \upper
>>
\new Staff <<
\new Voice = "lower" \lower
\clef bass
>>
\new Lyrics \lyricsto "inv" \text
>>
\layout { }
}

However, the text is related to chord changes, and I would prefer just
textparts per measure.
Can that be fixed with some other mode?
Also, the measures are not adjusted to the text, so some parts of the text
don´t align (even outside the paper).
Is there a setting to fix that?

-- Maarten


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\crossStaff and \stemDown

[ornello]

Hi all,

how do I write a cross-staff chord with stems down? In the following
fragment I want to connect the eighth notes of the upper staff to the eighth
notes in the lower staff, but not to the quarter note in the lower staff:


\version "2.16.0"

\layout {
  \context {
\Score
autoBeaming = ##f
  }
  \context {
\PianoStaff
\consists #Span_stem_engraver
  }
}

{
  \new PianoStaff <<
\new Staff {
  \stemDown
  \crossStaff { 8 8 }
}
\new Staff <<
  \clef bass
  \new Voice {
\voiceOne
\stemDown
8 [ 8 ]
  }
  \new Voice {
\voiceTwo
\stemDown
f,4
  }
>>
  >>
}


Thanks for suggestions,
Dominik



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View this message in context: 
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Re: Displaying string number above fingering

[Keith OHara]

Eluze  gmail.com> writes:

> maybe this could be merged into
> https://code.google.com/p/lilypond/issues/detail?id=2830

That issue is about fingering and string numbers inside chord brackets <>,
documenting how the order of input works together with script-priority

8(  )
(  )

articulations coming earlier in the input are printed closer to the note.

The irregular behavior Oliver sees occurs when there is no <> chord 
indication.

I think it is a separate bug, but I am confused right now.  There are two or 
three separate pieces of code setting fingerings and scripts according to
different combinations of rules, some similar to what Nick posted just now.
(Too many people write new code without looking at the existing code first.)

What we see here is the string numbers are being set as if they were inside
a chord <> and getting shifted based on the staff-position of their note-heads
-- the step for putting chord fingerings in the right order.
The fingerings don't get this shift, as for them LilyPond realizes they are
set on single notes.

Then there is the problem \thumb is different than other fingerings...

It seems if we give Fingerings and StringNumbers different script-priorities 
by default, as David suggested, it would render a lot of this (buggy) code moot.



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Re: Displaying string number above fingering

[David Kastrup]

Keith OHara  writes:

> Eluze  gmail.com> writes:
>
>> maybe this could be merged into
>> https://code.google.com/p/lilypond/issues/detail?id=2830
>
> That issue is about fingering and string numbers inside chord brackets <>,
> documenting how the order of input works together with script-priority
>
> 8(  )
> (  )
>
> articulations coming earlier in the input are printed closer to the
> note.

New_fingering_engraver

> The irregular behavior Oliver sees occurs when there is no <> chord
> indication.

Fingering_engraver

> I think it is a separate bug, but I am confused right now.  There are
> two or three separate pieces of code setting fingerings and scripts
> according to different combinations of rules, some similar to what
> Nick posted just now.  (Too many people write new code without looking
> at the existing code first.)

Outside of chords, articulations with an event listener are funneled off
rhythmic events and just announced at the same time.  Inside of chords,
they remain stuck on the individual rhythmic events which are then
passed to the New_fingering_engraver in some manner.

> Then there is the problem \thumb is different than other fingerings...

We should likely try doing something about that, though.

> It seems if we give Fingerings and StringNumbers different
> script-priorities by default, as David suggested, it would render a
> lot of this (buggy) code moot.

I am not sure this would cure the double-engraver scenario, but it might
make some sense trying to at least make both engravers use the same kind
of tie-breaking in comparable situations.

-- 
David Kastrup


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Re: Lyrics

[Robert Schmaus]

I see two options:


1) Instead of using \chd with your proper chords in it, you could just 
create a dummy chord voice like


dummy = \chordmode { \repeat unfold n  { c1 } }

and use that to associate the Lyrics Staff with. That way you definitely 
have one "stop" per measure.


I don't really get that problem of non-aligned measures with the text. 
It works nicely with Lily 2.16.0. Except of course if a text passage is 
already too long to fit in a whole line, but I don't see how this is a 
Lilypond problem.
Apparently, you still need to use chordmode for that dummy line - it 
didn't work otherwise here.



2) Someone else can suggest a better approach than mine (that's not 
unlikely - I have used Lilypond for quite a while now, but always for 
rather basic stuff like Jazz Leadsheets).
Also, when I tried out my solution, I wasn't at my own computer but used 
the online editor Lilybin instead ... now that I'm back at my machine, I 
see that my approach works, but produces many warnings on the console - 
so it'd be probably even a good idea if someone else did suggest a 
different approach ...








Am 12/12/12 9:37 AM, schrieb Maarten de Keijzer:

Thanks,
With the following 'script' and syllables enclosed by "" I get a score
including the text:

\score {
<<
\new Devnull = "inv" { \chd }
\new ChordNames {
\set chordChanges = ##t
\chd
}
\new Staff <<
\new Voice = "upper" \upper
>>
\new Staff <<
\new Voice = "lower" \lower
\clef bass
>>
\new Lyrics \lyricsto "inv" \text
>>
\layout { }
}

However, the text is related to chord changes, and I would prefer just
textparts per measure.
Can that be fixed with some other mode?
Also, the measures are not adjusted to the text, so some parts of the text
don´t align (even outside the paper).
Is there a setting to fix that?

-- Maarten


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one item on my wish list

[Klaus Föhl]

Dear all,

There is Christmas around the corner, and the recent report from Noeck
on showcasing Lilypond at a teacher training reminds me on the outward
visibility. And on the topic of music integration in wiki environments.

For the mediawiki software (known from its wikipedia use) there exists
Extension:LilyPond which is deprecated due to security issues
and http://www.mediawiki.org/wiki/Extension:Score as a safer successor.
Still it is experimental. Not yet advisable to install it in any wiki
open to the outside world.

But if it were sufficiently safe to install as addon to mediawiki
it certainly would raise the LilyPond visibility, and the brevity
of the coded music would speak by itself.

Any chances for a Christmas present?

Regards
Klaus



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Re: one item on my wish list

[David Kastrup]

Klaus Föhl  writes:

> There is Christmas around the corner, and the recent report from Noeck
> on showcasing Lilypond at a teacher training reminds me on the outward
> visibility. And on the topic of music integration in wiki environments.
>
> For the mediawiki software (known from its wikipedia use) there exists
> Extension:LilyPond which is deprecated due to security issues
> and http://www.mediawiki.org/wiki/Extension:Score as a safer successor.
> Still it is experimental. Not yet advisable to install it in any wiki
> open to the outside world.
>
> But if it were sufficiently safe to install as addon to mediawiki
> it certainly would raise the LilyPond visibility, and the brevity
> of the coded music would speak by itself.
>
> Any chances for a Christmas present?

Ah, the joyous spirit of receiving...

"Sufficiently safe" is in the mind of the beholder.  There have been
some improvements in how reliably the "-dsafer" LilyPond sandbox works.
But there will be nobody promising you to pay all followup costs in case
it gets breached.  The GPLv3 states explicitly:

  15. Disclaimer of Warranty.

  THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY
APPLICABLE LAW.  EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT
HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY
OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO,
THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE.  THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM
IS WITH YOU.  SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF
ALL NECESSARY SERVICING, REPAIR OR CORRECTION.

  16. Limitation of Liability.

  IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING
WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS
THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY
GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE
USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF
DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD
PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS),
EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES.

It also states:

  You may charge any price or no price for each copy that you convey,
and you may offer support or warranty protection for a fee.

Now it is unlikely that even under your invocation of the Christmas
spirit, anybody is going to step forward and offer warranty protection
without a fee.

The question is more what kind of warranty would get offered for what
price, and what kind of damage would be covered.

LilyPond is not inherently designed for safe operation.  It has some
mechanisms for locking away "dangerous" Scheme constructs, but it is not
plausible that somebody intent on finding a hole will not be able to do
so.

-- 
David Kastrup


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Re: fingerings

[David Kastrup]

Thomas Morley  writes:

> 2012/11/29 David Kastrup :
>> Noeck  writes:
>>
>>> Am 28.11.2012 21:42, schrieb Eluze:
 try

 { c'' d''-4  \parenthesize -4 e'' a c''-4 }

 Eluze
>>>
>>> Why does that work at all? I would have excpected that the (4) and the
>>> 4 is printed on the d''. Why can you write fingerings before the note?
>>
>> It is more a long-standing bug than anything else.  At some point of
>> time it will cease working.  It only works here because the parser fails
>> to realize that \tweak actually returns an articulation here: \tweak
>> could equally well return a proper standalone music expression.  Since
>> the untweaked expression would cause a syntax error, it does not really
>> make sense that the tweaked expression "works".
>>
>> It would actually be pretty easy to deliver a warning or an error right
>> now for this kind of misuse, and it probably makes sense doing this
>> before people feel this is some sort of feature and start depending on
>> it.
>>
>> The only question is: warning or error?  I tend towards the latter.
>
> Investigating this further I noticed that the results are unpredictable while
> -switching versions (2.16.0 or 2.17.8)
> -using in a chord or not
> -using a second, additional tweak
> when using it before the note.
>
> So I'd vote for error.

Issue 3012 http://code.google.com/p/lilypond/issues/detail?id=3012>

-- 
David Kastrup

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beam brackets

[Christopher Brooks]

The Manual 3.1.4 seems to say that one can place [ . . .] anywhere to start
and end beams, but when I do this to a file that otherwise works, it chokes.

 

"However, the remaining bracket-like constructs, described with the word
'Marks' in the table above together with ties and tuplets, do not have to
nest properly with any of the brackets or bracket-like constructs. In fact,
these are not brackets in the sense that they enclose something - they are
simply markers to indicate where something starts and ends."

 

In my file, this works:

 

 \time 5/4

 \repeat volta 2 {

 \times 4/7 {4.. 

 ^\markup {seven against five} a'8}

 \times 4/7 {d'8. a'4}

 \times 4/7 {d'16 a'4.. a'16}

 \times 4/7 {d'4 a'8.}

 \times 4/7 {d'8 a'4..}

 

This doesn't:

 

 \time 5/4

 \repeat volta 2 {

 \times 4/7 {4.. 

 ^\markup {seven against five} a'8}]

 \times 4/7 {d'8. a'4}

 \times 4/7 {d'16 a'4.. a'16}

 \times 4/7 {d'4 a'8.}

 \times 4/7 {d'8 a'4..}

 

Christopher Brooks

violinist

925 Virginia Avenue

Lancaster, PA 17603

717-291-9123

cbro...@orpheus-acoustics.com

 

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My return to Lilypond

[Eduardo Silva]

Greetings!
After an inactivity of maybe 4+ years, I'm coming back to the Lilypond users' 
community and to working with Lilypond. I must say I'm glad to see the progress 
of this project. The documentation has been improved a lot. I like the idea of 
a Learning Manual and a Notation Manual. I had to read and read, because I had 
forgotten so much stuff on how to use Lilypond—not that I had ever become 
proficient in this program in the first place.
I've had this dream of selling songbooks and sheet music online for years. 
Finally now I narrowed down the scope of this effort and am focusing initially 
in producing songs especially adapted to small tablets, and e-Ink readers. So 
far, I've completed 2 songbooks, just in time for the Christmas season:
Heartfelt Carols: Christmas Songs for Tablets and e-Readers, with regular notes 
and 7-shape note style. Free samples are available at my website: 
www.heartfeltsongs.com
I'd appreciate your feedback on these publications (download the samples, 
please). I should say that the final results look so awesome despite the little 
time and lack of knowledge to do more customizations. It was a joy overall to 
work with Lilypond.
I'm planning on donating to Lilypond at least 10% of my profit on these, if I 
manage to sell more than $1,000. I don't know how I would make an accountable 
process for this, but for now just take my word for it ;-). I'm pleased to see 
Daniel Kastrup's commitment to Lilypond.

Regards,
Eduardo Vieira
www.heartfeltsongs.com
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Re: beam brackets

[Thomas Morley]

2012/12/12 Christopher Brooks :
>  \time 5/4
>
>  \repeat volta 2 {
>
>  \times 4/7 {4..
>
>  ^\markup {seven against five} a'8}]
>
>  \times 4/7 {d'8. a'4}
>
>  \times 4/7 {d'16 a'4.. a'16}
>
>  \times 4/7 {d'4 a'8.}
>
>  \times 4/7 {d'8 a'4..}

Hi,

you always need a _pair_ of brackets.
In your example I can't find a starting "["-bracket.

Not sure, but perhaps
\noBeam
is better here.

HTH,
  Harm

P.S.
Please make sure to post a compilable example, with \version

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RE: beam brackets

[Christopher Brooks]

I've tried using paired brackets, that doesn't work either. However, the
manual says you don't need paired beam brackets.

>  \time 5/4
>
>  \repeat volta 2 {
>
>  \times 4/7 {4..
>
>  ^\markup {seven against five} a'8}]
>
>  \times 4/7 {d'8. a'4}
>
>  \times 4/7 {d'16 a'4.. a'16}
>
>  \times 4/7 {d'4 a'8.}
>
>  \times 4/7 {d'8 a'4..}

Hi,

you always need a _pair_ of brackets.
In your example I can't find a starting "["-bracket.

Not sure, but perhaps
\noBeam
is better here.

HTH,
  Harm

P.S.
Please make sure to post a compilable example, with \version



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Re: beam brackets

[Noeck]

Am 12.12.2012 15:29, schrieb Christopher Brooks:
> I've tried using paired brackets, that doesn't work either. However, the
> manual says you don't need paired beam brackets.
> 
>>  \times 4/7 {4..
>>  ^\markup {seven against five} a'8}]

Here, you really should use \noBeam instead of ] (inside the brace } ).
And beams can for sure not be attached to durations that have no beam,
so a'4.[ a'8] won't work.

If you still find an example where a _pair_ of brackets attached to
notes without too long notes in between that does not work, please post
an example.

Cheers,
Joram


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Re: beam brackets

[Phil Holmes]

- Original Message - 
From: "Christopher Brooks" 

Cc: 
Sent: Wednesday, December 12, 2012 2:29 PM
Subject: RE: beam brackets



I've tried using paired brackets, that doesn't work either. However, the
manual says you don't need paired beam brackets.


Which manual?  Please identify exactly where it says you don't need paired 
brackets.  Thanks.


--
Phil Holmes 



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Lilypond in Mac OS X Terminal

[Parham FH]

Hello,

I tried asking on IRC but got no replies. 
I am curious if it is possible to run lilypond from the Mac OS X 
(my case: 10.6.8) terminal since I am 
generating the data for lilypond via a python application.
It would therefor be preferred to run lilypond from the terminal in 
an automated non-user-interaction-
demanding manner.

I have tried searching for the answer online as well as linking and 
using binaries in the Lilypond.app package, but to no avail since I do
 not know how to properly set up the environment for it to work from the  
terminal.

Thank you in advance!

Cheers,
Parham


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Re: beam brackets

[Phil Holmes]

- Original Message - 
From: "Thomas Morley" 

To: "Christopher Brooks" 
Cc: 
Sent: Wednesday, December 12, 2012 2:08 PM
Subject: Re: beam brackets



2012/12/12 Christopher Brooks :

 \time 5/4

 \repeat volta 2 {

 \times 4/7 {4..

 ^\markup {seven against five} a'8}]

 \times 4/7 {d'8. a'4}

 \times 4/7 {d'16 a'4.. a'16}

 \times 4/7 {d'4 a'8.}

 \times 4/7 {d'8 a'4..}


Hi,

you always need a _pair_ of brackets.
In your example I can't find a starting "["-bracket.


And the error message tells the poster what the problem is:

"error: syntax error, unexpected ']'"

Do you think he considered checking the error messages?

--
Phil Holmes

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Re: My return to Lilypond

[m...@mikesolomon.org]

On 12 déc. 2012, at 14:57, Eduardo Silva  wrote:

> Greetings!
> After an inactivity of maybe 4+ years, I'm coming back to the Lilypond users' 
> community and to working with Lilypond. I must say I'm glad to see the 
> progress of this project. The documentation has been improved a lot. I like 
> the idea of a Learning Manual and a Notation Manual. I had to read and read, 
> because I had forgotten so much stuff on how to use Lilypond—not that I had 
> ever become proficient in this program in the first place.
> I've had this dream of selling songbooks and sheet music online for years. 
> Finally now I narrowed down the scope of this effort and am focusing 
> initially in producing songs especially adapted to small tablets, and e-Ink 
> readers. So far, I've completed 2 songbooks, just in time for the Christmas 
> season:
> Heartfelt Carols: Christmas Songs for Tablets and e-Readers, with regular 
> notes and 7-shape note style. Free samples are available at my website: 
> www.heartfeltsongs.com
> I'd appreciate your feedback on these publications (download the samples, 
> please). I should say that the final results look so awesome despite the 
> little time and lack of knowledge to do more customizations. It was a joy 
> overall to work with Lilypond.
> I'm planning on donating to Lilypond at least 10% of my profit on these, if I 
> manage to sell more than $1,000. I don't know how I would make an accountable 
> process for this, but for now just take my word for it ;-). I'm pleased to 
> see Daniel Kastrup's commitment to Lilypond.
> 
> Regards,
> Eduardo Vieira
> www.heartfeltsongs.com

Looks great - congrats!

Cheers,
MS

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Re: My return to Lilypond

[David Kastrup]

Eduardo Silva  writes:

> Greetings!
> After an inactivity of maybe 4+ years, I'm coming back to the Lilypond
> users' community and to working with Lilypond. I must say I'm glad to
> see the progress of this project. The documentation has been improved
> a lot. I like the idea of a Learning Manual and a Notation Manual.

Well,

git log --follow Documentation/learning/common-notation.itely

cranks out at the bottom

commit 0cf97b5cdceecbba937f43ac827f4065aad5001e
Author: Han-Wen Nienhuys 
Date:   Mon Oct 11 11:47:55 1999 +0200

release: 1.2.13

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.ite
ly
new file mode 100644
index 000..35b5dc0
--- /dev/null
+++ b/Documentation/user/tutorial.itely
@@ -0,0 +1,900 @@
+
+@chapter Tutorial
+
+
+@node Tutorial, , , Top
+@menu

[...]

so it would appear that the Tutorial idea is not exactly recent, even
though it might have been a chapter in the documentation rather than a
document of its own.

> I had to read and read, because I had forgotten so much stuff on how
> to use Lilypond—not that I had ever become proficient in this program
> in the first place.  I've had this dream of selling songbooks and
> sheet music online for years. Finally now I narrowed down the scope of
> this effort and am focusing initially in producing songs especially
> adapted to small tablets, and e-Ink readers.

At the Waltrop meeting, the people from Scorio.com demonstrated a tablet
used for paging music broken to about two systems per page.

> So far, I've completed 2 songbooks, just in time for the Christmas
> season: Heartfelt Carols: Christmas Songs for Tablets and e-Readers,
> with regular notes and 7-shape note style. Free samples are available
> at my website: www.heartfeltsongs.com I'd appreciate your feedback on
> these publications (download the samples, please). I should say that
> the final results look so awesome despite the little time and lack of
> knowledge to do more customizations. It was a joy overall to work with
> Lilypond.  I'm planning on donating to Lilypond at least 10% of my
> profit on these, if I manage to sell more than $1,000. I don't know
> how I would make an accountable process for this, but for now just
> take my word for it ;-).

It is not that we have an accountable process to show on any prospective
receiving end, either...

> I'm pleased to see Daniel Kastrup's commitment to Lilypond.

"David", not "Daniel".  The one with the constant harping, not the one
able to coexist peacefully with multiple versions of Lion.

At any rate, the amount of commitment involved with "I will need to stop
unless you give me your money" may be seen as less convincing on the
side of the receiver rather than that of the givers.  I've posted the
respective notice in March in the LilyPond Report in the expectation of
nobody blaming me for abandoning ship few months later.  After all, the
people I was asking for monetary support were usually already involved
as volunteers with LilyPond, reading the respective news for that
reason.  So far it would seem that I underestimated people's commitment
to LilyPond.  And, of course, in my own interest I am doing my best to
give them more reasons.

Though a community doing what is necessary and helpful for making
working on and with music easier and more enjoyable is quite a powerful
reason of its own.

-- 
David Kastrup


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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 8:31 AM, Parham FH  wrote:
> I tried asking on IRC but got no replies.
> I am curious if it is possible to run lilypond from the Mac OS X
> (my case: 10.6.8) terminal since I am
> generating the data for lilypond via a python application.
> It would therefor be preferred to run lilypond from the terminal in
> an automated non-user-interaction-
> demanding manner.
>

add this script to your $PATH and make it executable.

#!/bin/sh
exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond "$@"

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Re: Lilypond in Mac OS X Terminal

[Paul Morris]

On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:

> I am curious if it is possible to run lilypond from the Mac OS X 
> (my case: 10.6.8) terminal

Instructions are here:
http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x

"Running on the command-line"

Cheers,
-Paul


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Re: Lilypond in Mac OS X Terminal

[David Kastrup]

Paul Morris  writes:

> On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:
>
>> I am curious if it is possible to run lilypond from the Mac OS X 
>> (my case: 10.6.8) terminal
>
> Instructions are here:
> http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x
>
> "Running on the command-line"

Stupid question: why would one create executable shims to something like
DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
one's PATH when one can just add
DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
contain stuff that is bad for PATH?

-- 
David Kastrup


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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 9:32 AM, David Kastrup  wrote:
> Paul Morris  writes:
>
>> On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:
>>
>>> I am curious if it is possible to run lilypond from the Mac OS X
>>> (my case: 10.6.8) terminal
>>
>> Instructions are here:
>> http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x
>>
>> "Running on the command-line"
>
> Stupid question: why would one create executable shims to something like
> DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
> one's PATH when one can just add
> DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
> contain stuff that is bad for PATH?

Or, another way to approach the matter is there an easier way to
register ".ly" file extensions so that one can just do the following?

$ open -a LilyPond example.ly

I've already configured my machine to always open that file extension
with LilyPond.app, but if there's an easier way to do it, maybe it's
more idiomatic for Mac users.

- Eric

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Neal Morse songbook done with LilyPond

[Peter Crighton]

Dear fellow Lilyponders,

throughout this year I was working on a songbook, entirely done with
LilyPond, for my favourite musician and American progressive rock
legend Neal Morse. It got published a few days ago as a book and a PDF
version: http://www.radiantrecords.com/products/428-sing-it-high-songbook.aspx

So, another official (and my first) publication with LilyPond.
Hopefully there are many more to come!
Thanks so much to all involved in developing this beautiful software
and all the community who are so helpful on this mailing list!

All the best,
Peter Crighton

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de

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Re: Lilypond in Mac OS X Terminal

[Paul Morris]

On Dec 12, 2012, at 10:32 AM, David Kastrup  wrote:

> Paul Morris  writes:
> 
>> On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:
>> 
>>> I am curious if it is possible to run lilypond from the Mac OS X 
>>> (my case: 10.6.8) terminal
>> 
>> Instructions are here:
>> http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x
>> 
>> "Running on the command-line"
> 
> Stupid question: why would one create executable shims to something like
> DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
> one's PATH when one can just add
> DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
> contain stuff that is bad for PATH?

I have no idea, as I am pretty unfamiliar with using the command-line.  I tried 
to follow those instructions recently (to try the png output) but was not able 
to get it to run.  There did seem to be more steps than I would have thought.  
I'm hoping to get together with a friend of mine who is experienced with unix 
on the mac to help me get it working.

-Paul
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Re: Tweaking notehead direction in chords

[Arle Lommel]

Great Paul! Thanks for this. I wish I knew Scheme enough to do this myself, but 
I've not learned it and for someone who doesn't know Scheme, it looks really 
strange and the learning curve looks steep.

Best,

-Arle


On 2012 Dec 11, at 22:00 , Paul Morris  wrote:

> Hi Arle,  
> 
> Below is a revised version that lets you just enter 1 and -1 to indicate your 
> offsets. It then multiplies that by 1.251178 to get the precise offset 
> amount.  You could enter a slightly larger amount (like 1.1) for whole notes 
> and adjust to taste.  This basically lets you work in units of "one standard 
> note head width".
> 
> It also uses ly:grob-translate-axis! rather than setting the X-offset 
> property of the NoteHead grob.  This accomplishes the same thing and avoids 
> potential problems where setting the X-offset for NoteHead grobs in chords 
> may not work in certain cases.  Thanks to Harm/Thomas Morley for this tip.[1]
> 
> Cheers,
> -Paul
> 
> [1] http://lists.gnu.org/archive/html/bug-lilypond/2012-12/msg00017.html
> 
> 
> 
> %% BEGIN SNIPPET
> 
> #(define ((shift offsets) grob)
> (let ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads
>   (for-each
> (lambda (p q) (ly:grob-translate-axis! p (* q 1.251178) X))
> note-heads offsets)))
> 
> displaceHeads =
> #(define-music-function (parser location offsets) (list?)
> #{
>   \once \override NoteColumn #'before-line-breaking = #(shift offsets)
> #}
> )
> 
> theMusic = {
> \displaceHeads #'(0 0 1)
> 4
> 
> \displaceHeads #'(0 1 1)
> 
> 
> \displaceHeads #'(0 1 1)
> 
> 
> \displaceHeads #'(0 0 1)
> < c' e' g'>
> 
> \displaceHeads #'(-1 -1 0)
> < c'' e'' g''>
> 
> \displaceHeads #'(-1 -1 0)
> < c''' e''' g'''>
> 
> \displaceHeads #'(0 0 1)
> < c e g>
> 
> \displaceHeads #'(0 -1 0)
> < c'' e'' g''>
> 
> \displaceHeads #'(0 0 -1)
> < c'' e'' g''>
> }
> 
> \new Staff {
> \theMusic
> }
> 
> 
> 
> On Dec 11, 2012, at 3:15 PM, Arle Lommel  wrote:
> 
>> Brilliant, Paul. It isn't as easy as I'd hoped, but this works and is really 
>> minimally difficult for me to use. I used 1.25 and -1.25 as values and it is 
>> certainly close enough that I can't complain. This helps a *lot*.
>> 
>> Best regards,
>> 
>> Arle
>> 
>> On 2012 Dec 11, at 21:05 , Paul Morris wrote:
>> 
>>> Hi Arle,
>>> 
>>> On Dec 11, 2012, at 2:37 PM, Arle Lommel  wrote:
>>> 
 I've been looking for how to tweak the direction of noteheads within 
 chords. I've got a few instances where Lilypond’s default isn't as clear 
 as when I flip the direction of some of the noteheads. I've searched the 
 repository and tried various tweaks using direction, but nothing seems to 
 matter. I'm sure it's easy, but I can't find it.
 
 As a minimal example, consider this chord:
 
 4
 
 The default is to have the e face left and the other heads face right, but 
 in the piece I am reproducing the e faces right and the fis faces left. 
 Doing it this way, as per the old engraver, increases the white space 
 between the noteheads and increases legibility.
 
 Any guidance on how to achieve this? If there is an easy way, I would 
 suggest adding it to the LSR as well, since this is a basic sort of tweak 
 that others must surely need, but which doesn't seem to be easy to find.
>>> 
>>> I had trouble figuring this out earlier this year and David Nalesnik helped 
>>> me out with the code below.[1]  I have had it on my list to add it to the 
>>> LSR (while giving proper credit to David N.), as it is something that is 
>>> not easy to figure out on your own.  
>>> 
>>> (I think the fully accurate horizontal offsets should be 1.251178 and 
>>> -1.251178 rather than 1.3 or -1.3 for regular sized noteheads.  They would 
>>> be a little larger for whole note note heads, but I don't know those values 
>>> at the moment.)
>>> 
>>> Let me know if you have questions about how it works.
>>> 
>>> HTH,
>>> -Paul
>>> 
>>> 
>>> #(define ((shift offsets) grob)
>>> (let ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads
>>>  (for-each
>>>(lambda (p q) (set! (ly:grob-property p 'X-offset) q))
>>>note-heads offsets)))
>>> 
>>> displaceHeads =
>>> #(define-music-function (parser location offsets) (list?)
>>> #{
>>>  \once \override NoteColumn #'before-line-breaking = #(shift offsets)
>>> #}
>>> )
>>> 
>>> theMusic = {
>>> \displaceHeads #'(0 0 1.3)
>>> 4
>>> 
>>> \displaceHeads #'(0 1.3 1.3)
>>> 
>>> 
>>> \displaceHeads #'(0 1.3 1.3)
>>> 
>>> 
>>> \displaceHeads #'(0 0 1.3)
>>> < c' e' g'>
>>> 
>>> \displaceHeads #'(-1.3 -1.3 0)
>>> < c'' e'' g''>
>>> 
>>> \displaceHeads #'(-1.3 -1.3 0)
>>> < c''' e''' g'''>
>>> 
>>> \displaceHeads #'(0 0 1.3)
>>> < c e g>
>>> 
>>> \displaceHeads #'(0 -1.3 0)
>>> < c'' e'' g''>
>>> 
>>> \displaceHeads #'(0 0 -1.3)
>>> < c'' e'' g''>
>>> }
>>> 
>>> \new Staff {
>>> \theMusic
>>> }
>>> 
>>> [1] http://lists.gnu.org/archive/html/lilypond-user/2012-12/msg00186.html
>> 
> 


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Re: My return to Lilypond

[Kieren MacMillan]

David,

> "David", not "Daniel".  The one with the constant harping, not the one
> able to coexist peacefully with multiple versions of Lion.

Ha! I see what you did there…
Kieren.
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Re: My return to Lilypond

[Shane Brandes]

Eduardo,

Nice job, perhaps hymnals are now obsolete. That would throw my synod
into a tizzy. It makes me almost want a tablet. Hopefully you will
raise a few pennies in your endeavor.

Shane Brandes

On Wed, Dec 12, 2012 at 11:25 AM, Kieren MacMillan
 wrote:
> David,
>
>> "David", not "Daniel".  The one with the constant harping, not the one
>> able to coexist peacefully with multiple versions of Lion.
>
> Ha! I see what you did there…
> Kieren.
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Re: Tweaking notehead direction in chords

[David Kastrup]

Arle Lommel  writes:

> Great Paul! Thanks for this. I wish I knew Scheme enough to do this
> myself, but I've not learned it and for someone who doesn't know
> Scheme, it looks really strange and the learning curve looks steep.

Scheme is not all that hard to learn, but some kind of tricks you can
teach LilyPond require knowledge of LilyPond's rather than Scheme's
darker corners.

-- 
David Kastrup


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Re: Lyrics

[David Kastrup]

"Maarten de Keijzer"  writes:

> Thanks,
> With the following 'script' and syllables enclosed by "" I get a score
> including the text:
>
> \score {
>   <<
>   \new Devnull = "inv" { \chd }
>   \new ChordNames {
>   \set chordChanges = ##t
>   \chd
>   }
>   \new Staff <<
>   \new Voice = "upper" \upper
>   >>
>   \new Staff <<
>   \new Voice = "lower" \lower
>   \clef bass
>   >>
>   \new Lyrics \lyricsto "inv" \text
>   >>
>   \layout { }
> }
>
> However, the text is related to chord changes, and I would prefer just
> textparts per measure.
> Can that be fixed with some other mode?

You are aware that you don't _need_ to use \lyricsto or \addlyrics?
Just specify the duration you want in the text itself like

\new Lyrics \lyricsmode { "And there were"1 "shepherds in"2. the4 field. }

If you go "one lyric per bar", then you should just need the first 1 and
all the other strings will be of the same length automatically.

-- 
David Kastrup


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unhiding a hidden staff at the NEXT line break (instead of previous line break)

[nothingwavering]

Greetings all.

This forum was most helpful recently in showing me how to use \context { \Staff 
\RemoveEmptyStaves } to hide non-empty staves containing music.

The purpose of this was to swap a single staff with two combined voices for two 
separate staves with one voice each after a line break, and vice versa 
(combining two voices on different staves into a single staff after a line 
break).  

(Lest anyone be confused, the voices that have the effect of appearing, in the 
score, to be split and recombined are separate Voice contexts that don't 
actually jump staves.)

The proposed solution was to use Staff context property "keepAliveInterfaces" 
to create hideStaff and showStaff commands.

hideStaff = \set Staff.keepAliveInterfaces = #'()
showStaff = \set Staff.keepAliveInterfaces = #'(
bass-figure-interface
chord-name-interface
cluster-beacon-interface
fret-diagram-interface
lyric-syllable-interface
note-head-interface
tab-note-head-interface
lyric-interface
percent-repeat-item-interface
percent-repeat-interface
stanza-number-interface
text-interface
rest-interface  % added to allow keeping alive staves with only rests
)

This ends up working quite well for 
* short to moderate-length pieces 
* where only one score is to be created from music so annotated with \hideStaff 
and \showStaff 
* and where explicit line breaks (\beak and \noBreak) are used.

For this project, it is just about imperative to use Lilypond's automatic line 
breaking instead of explicit \break \noBreak line breaking, due to the massive 
length of the piece and the need to produce multiple versions at different font 
sizes and with different combinations of parts.

The problem is that when I use \showStaff, as defined above, it causes Lilypond 
to display the staff, starting at the PREVIOUS line break.  And I need it to 
delay showing the staff until the NEXT line break.

Anyone know how I can get Lilypond to unhide a staff at the NEXT line break?


Here's some pseudo-lilypond source the illustrates what I want to be able to 
write:

celloCombined = \relative c {   
\clef bass
| c4 c c c
.
.
.
\barNumberCheck #10
| d4 d d d
% start overlap
| \hideStaff 4 ^"divided" % staff hidden at next line 
break
| 4   
| 4   
| 4
% end overlap
| R1*10
}

celloI = \relative c {
\clef bass
R1*10

\barNumberCheck #11  % measure 1 + 10 measures rest = measure 11
% start overlap
| \showStaffNextBreak e4 e e e  % staff shown at NEXT line break, not from 
previous line break
| f4 f f f
| e4 e e e
| f4 f f f 
% end overlap
| g4\p\< g, f8 f' f'4\f  % messy stuff, that's not good for one staff; voice 
crossing
.
.
. % continues
}

celloII = \relative c {
\clef bass
R1*10

\barNumberCheck #11  % measure 1 + 10 measures rest = measure 11
% start overlap
| \showStaffNextBreak c4 c c c  % staff shown at NEXT line break, not from 
previous line break
| d4 d d d
| c4 c c c
| d d d d 
% end overlap
| d'2\f> d,,4 e\!  % different dynamics
.
.
. % continues
}

\score {
\new GrandStaff <<
\new Staff \celloCombined
\new Staff \celloI
\new Staff \celloII
>>

\layout {
\context { \Staff \RemoveEmptyStaves }
}
}

This may not perfectly demonstrate everything, but the idea is that I code an 
overlap in the parts after the place I tell Lilypond to switch out the staves 
and as soon as Lilypond finds an optimal line break, it makes the switch.  As 
long as the overlap is large enough, the dropping out staff will be removed 
before the end of the overlap and the change will appear seamless without 
having to encode the whole score twice-- once in two staves and one in a 
combined single staff.


Thanks for any ideas!


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Re: unhiding a hidden staff at the NEXT line break (instead of previous line break)

[nothingwavering]

In case, I buried this detail too deep in the message, this needs to work 
WITHOUT explicit line breaking, due to multiple font-sizes and versions with 
different combinations of instruments.

On Dec 12, 2012, at 11:05 AM, nothingwaver...@gmail.com wrote:

> Greetings all.
> 
> This forum was most helpful recently in showing me how to use \context { 
> \Staff \RemoveEmptyStaves } to hide non-empty staves containing music.
> 
> The purpose of this was to swap a single staff with two combined voices for 
> two separate staves with one voice each after a line break, and vice versa 
> (combining two voices on different staves into a single staff after a line 
> break).  
> 
> (Lest anyone be confused, the voices that have the effect of appearing, in 
> the score, to be split and recombined are separate Voice contexts that don't 
> actually jump staves.)
> 
> The proposed solution was to use Staff context property "keepAliveInterfaces" 
> to create hideStaff and showStaff commands.
> 
> hideStaff = \set Staff.keepAliveInterfaces = #'()
> showStaff = \set Staff.keepAliveInterfaces = #'(
> bass-figure-interface
> chord-name-interface
> cluster-beacon-interface
> fret-diagram-interface
> lyric-syllable-interface
> note-head-interface
> tab-note-head-interface
> lyric-interface
> percent-repeat-item-interface
> percent-repeat-interface
> stanza-number-interface
> text-interface
> rest-interface  % added to allow keeping alive staves with only rests
> )
> 
> This ends up working quite well for 
> * short to moderate-length pieces 
> * where only one score is to be created from music so annotated with 
> \hideStaff and \showStaff 
> * and where explicit line breaks (\beak and \noBreak) are used.
> 
> For this project, it is just about imperative to use Lilypond's automatic 
> line breaking instead of explicit \break \noBreak line breaking, due to the 
> massive length of the piece and the need to produce multiple versions at 
> different font sizes and with different combinations of parts.
> 
> The problem is that when I use \showStaff, as defined above, it causes 
> Lilypond to display the staff, starting at the PREVIOUS line break.  And I 
> need it to delay showing the staff until the NEXT line break.
> 
> Anyone know how I can get Lilypond to unhide a staff at the NEXT line break?
> 
> 
> Here's some pseudo-lilypond source the illustrates what I want to be able to 
> write:
> 
> celloCombined = \relative c { 
> \clef bass
> | c4 c c c
> .
> .
> .
> \barNumberCheck #10
> | d4 d d d
> % start overlap
> | \hideStaff 4 ^"divided" % staff hidden at next line 
> break
> | 4   
> | 4   
> | 4
> % end overlap
> | R1*10
> }
> 
> celloI = \relative c {
> \clef bass
> R1*10
> 
> \barNumberCheck #11  % measure 1 + 10 measures rest = measure 11
> % start overlap
> | \showStaffNextBreak e4 e e e  % staff shown at NEXT line break, not from 
> previous line break
> | f4 f f f
> | e4 e e e
> | f4 f f f 
> % end overlap
> | g4\p\< g, f8 f' f'4\f  % messy stuff, that's not good for one staff; voice 
> crossing
> .
> .
> . % continues
> }
> 
> celloII = \relative c {
> \clef bass
> R1*10
> 
> \barNumberCheck #11  % measure 1 + 10 measures rest = measure 11
> % start overlap
> | \showStaffNextBreak c4 c c c  % staff shown at NEXT line break, not from 
> previous line break
> | d4 d d d
> | c4 c c c
> | d d d d 
> % end overlap
> | d'2\f> d,,4 e\!  % different dynamics
> .
> .
> . % continues
> }
> 
> \score {
> \new GrandStaff <<
> \new Staff \celloCombined
> \new Staff \celloI
> \new Staff \celloII
> >>
> 
> \layout {
> \context { \Staff \RemoveEmptyStaves }
> }
> }
> 
> This may not perfectly demonstrate everything, but the idea is that I code an 
> overlap in the parts after the place I tell Lilypond to switch out the staves 
> and as soon as Lilypond finds an optimal line break, it makes the switch.  As 
> long as the overlap is large enough, the dropping out staff will be removed 
> before the end of the overlap and the change will appear seamless without 
> having to encode the whole score twice-- once in two staves and one in a 
> combined single staff.
> 
> 
> Thanks for any ideas!
> 
> 

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Re: Lilypond in Mac OS X Terminal

[Hans Aberg]

On 12 Dec 2012, at 16:32, David Kastrup wrote:

> Paul Morris  writes:
> 
>> On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:
>> 
>>> I am curious if it is possible to run lilypond from the Mac OS X 
>>> (my case: 10.6.8) terminal
>> 
>> Instructions are here:
>> http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x
>> 
>> "Running on the command-line"
> 
> Stupid question: why would one create executable shims to something like
> DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
> one's PATH when one can just add
> DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
> contain stuff that is bad for PATH?

This directory contains other stuff that might be conflicting with other same 
named executable. For example, ps2pdf and such comes with the TeXLive 
installation.

Hans



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Re: Lilypond in Mac OS X Terminal

[Graham Percival]

On Wed, Dec 12, 2012 at 08:47:27PM +0100, Hans Aberg wrote:
> 
> On 12 Dec 2012, at 16:32, David Kastrup wrote:
> > Stupid question: why would one create executable shims to something like
> > DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
> > one's PATH when one can just add
> > DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
> > contain stuff that is bad for PATH?
> 
> This directory contains other stuff that might be conflicting with other same 
> named executable. For example, ps2pdf and such comes with the TeXLive 
> installation.

Yes, that's precisely the case.  Back in the 10.4 days, prepending
that directory to the path resulted in other programs (such as
pdflatex) being unable to produce valid pdf files due to some
conflict or missing share directory.  The executable shims ensure
that lilypond uses the packaged ps2pdf, while other command-line
osx programs don't use that.  This particular problem might be
avoidable by appending that dir to the path rather than
prepending, but then I'd be concerned about lilypond using the
system ps2pdf rather than our packaged one.

The executable shims avoid those problems, while being relatively
easy to explain to newbies.

- Graham

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Re: Lilypond in Mac OS X Terminal

[David Kastrup]

Graham Percival  writes:

> On Wed, Dec 12, 2012 at 08:47:27PM +0100, Hans Aberg wrote:
>> 
>> On 12 Dec 2012, at 16:32, David Kastrup wrote:
>> > Stupid question: why would one create executable shims to something like
>> > DIR/LilyPond.app/Contents/Resources/bin/* in ~/bin and then add ~/bin to
>> > one's PATH when one can just add
>> > DIR/LilyPond.app/Contents/Resources/bin/ instead?  Is DIR expected to
>> > contain stuff that is bad for PATH?
>> 
>> This directory contains other stuff that might be conflicting with
>> other same named executable. For example, ps2pdf and such comes with
>> the TeXLive installation.
>
> Yes, that's precisely the case.  Back in the 10.4 days, prepending
> that directory to the path resulted in other programs (such as
> pdflatex) being unable to produce valid pdf files due to some conflict
> or missing share directory.  The executable shims ensure that lilypond
> uses the packaged ps2pdf, while other command-line osx programs don't
> use that.

Then we should put those executables provided just for the sake of our
own programs internally into a separate directory rather than bin.
I have seen libexec being used for that.

> This particular problem might be avoidable by appending that dir to
> the path rather than prepending, but then I'd be concerned about
> lilypond using the system ps2pdf rather than our packaged one.
>
> The executable shims avoid those problems, while being relatively easy
> to explain to newbies.

The libexec route appears to cater for all of that.  We should use bin
just for executables supposed to be entry points of LilyPond.

-- 
David Kastrup

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Re: Lilypond in Mac OS X Terminal

[Graham Percival]

On Wed, Dec 12, 2012 at 09:14:12PM +0100, David Kastrup wrote:
> Graham Percival  writes:
> 
> > The executable shims avoid those problems, while being relatively easy
> > to explain to newbies.
> 
> The libexec route appears to cater for all of that.  We should use bin
> just for executables supposed to be entry points of LilyPond.

I have no objection to that.  Patches will most likely be required
for both:
https://github.com/gperciva/gub
https://github.com/gperciva/lilypad

- Graham

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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
> The libexec route appears to cater for all of that.  We should use bin
> just for executables supposed to be entry points of LilyPond.

Please, no!

>From man 1 hier

[..]
  libexec/  system daemons & system utilities (executed by
 other programs)


vs.

[..]
 local/executables, libraries, etc. not included by the
 basic operating system

and..

[..]
  /usr/ contains the majority of user utilities and applications
   bin/  common utilities, programming tools, and
applications

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Re: Lilypond in Mac OS X Terminal

[David Kastrup]

Eric Pancer  writes:

> On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
>> The libexec route appears to cater for all of that.  We should use bin
>> just for executables supposed to be entry points of LilyPond.
>
> Please, no!
>
>>From man 1 hier
>
> [..]
>   libexec/  system daemons & system utilities (executed by
>  other programs)

Which is pretty much what we are talking about.  I was not talking about
/libexec but libexec, like the LilyPond executables are not in /bin but
some bin (well, actually out/bin) and, after installation, in some
/usr/local/bin (so the companion would be something like
/usr/local/libexec/lilypond/2.17.7/i686-pc-linux-gnu/ if we are taking
things literally).

-- 
David Kastrup

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4-Drum Conga Notation in LilyPond

[Eric Pancer]

While writing some conga exercises (for four drums) in Lilypond, I've
found I can get by using the following notes*:
 - bd (super tumba)
 - toml (tumba)
 - sn (conga)

However, I'm looking for a 4th pitch to notate a quinto (high drum)
and would like to use E6 (4th space in treble clef). Since there's no
standard notehead for that in
,
could someone please advise on how to change my file to redefine the
pitch with the correct notehead?

Also, is there an easy way to make each pitch with an "x" (slap)?

Thanks,

- Eric

* - I realize that LilyPond does have a built-in way to notate congas,
but I'm already working with a system that notates 4 drums in a
standard staff.

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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 2:25 PM, David Kastrup  wrote:
> Which is pretty much what we are talking about.  I was not talking about
> /libexec but libexec, like the LilyPond executables are not in /bin but
> some bin (well, actually out/bin) and, after installation, in some
> /usr/local/bin (so the companion would be something like
> /usr/local/libexec/lilypond/2.17.7/i686-pc-linux-gnu/ if we are taking
> things literally).

Okay, I understand that, but do not view LilyPond as a system utility.
Perhaps it is, since other items such as mysql, gpg-protect-tool, and
other third-party tools get put on other *BSD-derived systems, as
well.

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Snippet "music box" does not work in 2.16

[Eric]

Hi Lilypond helpers,

The following snippet :

http://lsr.dsi.unimi.it/LSR/Snippet?id=346

does not work any longer.

The error occurs "In procedure car in expression (car pes):
/home/eric/musique/lilypond/test.ly:49:49: Wrong type (expecting pair): ()"

that is, at line (in function defineTransform) :

(pnew (ly:music-property (car pes) 'pitch))


Can anyone find what is wrong ?

Thanks for any hint,
Eric


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Re: Lilypond in Mac OS X Terminal

[David Kastrup]

Eric Pancer  writes:

> On Wed, Dec 12, 2012 at 2:25 PM, David Kastrup  wrote:
>> Which is pretty much what we are talking about.  I was not talking about
>> /libexec but libexec, like the LilyPond executables are not in /bin but
>> some bin (well, actually out/bin) and, after installation, in some
>> /usr/local/bin (so the companion would be something like
>> /usr/local/libexec/lilypond/2.17.7/i686-pc-linux-gnu/ if we are taking
>> things literally).
>
> Okay, I understand that, but do not view LilyPond as a system utility.

Which is why we are talking /usr/local/libexec rather than /usr/libexec
or /libexec.

-- 
David Kastrup

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Re: Snippet "music box" does not work in 2.16

[David Kastrup]

Eric  writes:

> Hi Lilypond helpers,
>
> The following snippet :
>
> http://lsr.dsi.unimi.it/LSR/Snippet?id=346
>
> does not work any longer.
>
> The error occurs "In procedure car in expression (car pes):
> /home/eric/musique/lilypond/test.ly:49:49: Wrong type (expecting pair): ()"
>
> that is, at line (in function defineTransform) :
>
> (pnew (ly:music-property (car pes) 'pitch))
>
>
> Can anyone find what is wrong ?

Things got simpler.  Converge the two lines

   (pes (ly:music-property (list-ref pitches i) 'elements))
   (pnew (ly:music-property (car pes) 'pitch))

into

   (pnew (ly:music-property (list-ref pitches i) 'pitch))

-- 
David Kastrup


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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 3:02 PM, David Kastrup  wrote:
> Eric Pancer  writes:
>
>> On Wed, Dec 12, 2012 at 2:25 PM, David Kastrup  wrote:
>>> Which is pretty much what we are talking about.  I was not talking about
>>> /libexec but libexec, like the LilyPond executables are not in /bin but
>>> some bin (well, actually out/bin) and, after installation, in some
>>> /usr/local/bin (so the companion would be something like
>>> /usr/local/libexec/lilypond/2.17.7/i686-pc-linux-gnu/ if we are taking
>>> things literally).
>>
>> Okay, I understand that, but do not view LilyPond as a system utility.
>
> Which is why we are talking /usr/local/libexec rather than /usr/libexec
> or /libexec.

Alright, it's your rodeo and I'm just a spectator. Just make sure you
let us all know to add it to our PATHs since most people, I'm
guessing, don't have /usr/local/libexec added.

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Re: Lilypond in Mac OS X Terminal

[David Kastrup]

Eric Pancer  writes:

> On Wed, Dec 12, 2012 at 3:02 PM, David Kastrup  wrote:
>> Eric Pancer  writes:
>>
>>> On Wed, Dec 12, 2012 at 2:25 PM, David Kastrup  wrote:
 Which is pretty much what we are talking about.  I was not talking about
 /libexec but libexec, like the LilyPond executables are not in /bin but
 some bin (well, actually out/bin) and, after installation, in some
 /usr/local/bin (so the companion would be something like
 /usr/local/libexec/lilypond/2.17.7/i686-pc-linux-gnu/ if we are taking
 things literally).
>>>
>>> Okay, I understand that, but do not view LilyPond as a system utility.
>>
>> Which is why we are talking /usr/local/libexec rather than /usr/libexec
>> or /libexec.
>
> Alright, it's your rodeo and I'm just a spectator. Just make sure you
> let us all know to add it to our PATHs since most people, I'm
> guessing, don't have /usr/local/libexec added.

The whole point was _not_ to have it added to the PATH as it was
supposed to _only_ contain binaries used _internally_ in LilyPond.

-- 
David Kastrup

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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 3:15 PM, David Kastrup  wrote:
> The whole point was _not_ to have it added to the PATH as it was
> supposed to _only_ contain binaries used _internally_ in LilyPond.

Ah! Sorry, I'll smack my own forehead :-)

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Re: 4-Drum Conga Notation in LilyPond

[Eric Pancer]

On Wed, Dec 12, 2012 at 2:33 PM, Eric Pancer  wrote:
> While writing some conga exercises (for four drums) in Lilypond, I've
> found I can get by using the following notes*:
>  - bd (super tumba)
>  - toml (tumba)
>  - sn (conga)
>
> However, I'm looking for a 4th pitch to notate a quinto (high drum)
> and would like to use E6 (4th space in treble clef). Since there's no
> standard notehead for that in
> ,
> could someone please advise on how to change my file to redefine the
> pitch with the correct notehead?

I've got this working using the following definition:

#(define mydrums '(
(bassdrum  default   #f  -3)
(snaredefault   #f0)
(hihat default #f  1)
(lowtom default   #f 3)))

Of course I don't exactly understand what the #f is, but do get the
numerical values are positions in the staff. A bit of explanation
could help me.

> Also, is there an easy way to make each pitch with an "x" (slap)?

I still don't understand how to do this. ^

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balloonGrobText

[Noeck]

Dear all,

I try to use the balloonGrobText. After I found out that I have to add
it to the Score, Staff _and_ to the Voice, some questions remain:

1. All spanners have zero length if a balloonGrobText is attached to
them. At least Beams, Hairpins, Slurs, PhrasingSlurs, TupletBrackets are
affected. Is that a known bug or am I doing something wrong?

\version "2.16.0"
\new Voice \with { \consists "Balloon_engraver" }
{
  \balloonGrobText #'Slur #'(-1 . -1) "Text"
  g( a)
}

2. I cannot attach a balloonGrobText to a Tie. Why?

3. Why does this Text appear two times (already before the break)?
\version "2.16.0"
\new Score
\with { \consists "Balloon_engraver" }
{
  a1
  \balloonGrobText #'BarNumber #'(1 . +1) "Text"
  \break
  a1
}

Cheers,
Joram


PS: Why such a strange name, balloonGrobText? Why not just annotation?

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Re: balloonGrobText

[David Kastrup]

Noeck  writes:

> PS: Why such a strange name, balloonGrobText? Why not just annotation?

Because nobody sanitized this up to now.  It should probably get pretty
much the same interface as \footnote.  However, the interface of
\footnote changed about monthly for quite a while, so it made sense
getting this right first.

-- 
David Kastrup


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Re: Snippet "music box" does not work in 2.16

[David Kastrup]

David Kastrup  writes:

> Eric  writes:
>
>> Hi Lilypond helpers,
>>
>> The following snippet :
>>
>> http://lsr.dsi.unimi.it/LSR/Snippet?id=346
>>
>> does not work any longer.
>>
>> The error occurs "In procedure car in expression (car pes):
>> /home/eric/musique/lilypond/test.ly:49:49: Wrong type (expecting
>> pair): ()"
>>
>> that is, at line (in function defineTransform) :
>>
>> (pnew (ly:music-property (car pes) 'pitch))
>>
>>
>> Can anyone find what is wrong ?
>
> Things got simpler.  Converge the two lines
>
>  (pes (ly:music-property (list-ref pitches i)
> elements))
>  (pnew (ly:music-property (car pes) 'pitch))
>
> into
>
>(pnew (ly:music-property (list-ref pitches i)
> pitch))

Actually, I find I like the following better (except one should likely
make the fold-some-music call into a separate predefined extract-pitches
function).

% This file demonstrates how to typeset different pitches with the
% same rhythm.

% It defines a function, defineTransform,
% that you can use to make transformation functions.

% Call it like this:
% myTransformation =
% \defineTransform { c'4 c'8 c'8 d'16 d' d' d' < c' d' > }

% You have now defined a transformation with the name "myTransformation".
% The rhythm in the transformation must be specified with notes c' d' e' f' g'  etc.

% After having defined the transformation, you can call it like this:

% \myTransformation { e gis }
% To insert the rhythm from the transformation,
% where c' is substituted with e and d' is substituted with gis


%%% The following scheme function is just some mumbo-jumbo
%%% That you should add at the top of your program:

defineTransform =
#(define-scheme-function (parser location pattern)
   (ly:music?)
   (define-music-function (parser location pitchseq)
 (ly:music?)
 (let ((pitches (list->vector
		 (reverse!
		  (fold-some-music
		   (lambda (m)
			 (ly:pitch? (ly:music-property m 'pitch)))
		   (lambda (m l)
			 (cons (ly:music-property m 'pitch) l))
		   '()
		   pitchseq
	   (m (ly:music-deep-copy pattern)))
   (for-some-music
	(lambda (m)
	  (let ((p (ly:music-property m 'pitch)))
	(and (ly:pitch? p)
		 (begin
		   (set! (ly:music-property m 'pitch)
			 (vector-ref pitches
 (ly:pitch-steps p)))
		   #t
	m)
   m)))

%%% To illustrate, here follows the Bach Prelude in C major,
%%% Typeset using defineTransform:

% This is the unabridged version of the whole Prelude.
% If we were to implement it in the documentation, we
% might have to consider commenting about 80% of it. -vv

\include "deutsch.ly"

%%% This defines one measure of the prelude,
%%% using the five notes c' d' e' f' g' instead of the "real" notes:
makePreludeMeasure =
\defineTransform \transpose c c' \repeat unfold 2 {
  <<
\context Staff = "up" {r8 e16 f g e f g }
\context Staff = "down" << {r16 d8.~d4 } \\ { c2 } >> 
  >>
}

%%% This is the last two measures - defined normally:
ending = <<
  \context Staff = up { s1*2 }
  \context Staff = up { r8 f,16 a, c f c a, \stemUp c \change Staff = down
a, f, a, f, d, f, d, \change Staff = up \stemNeutral
r8 g16 h d' f' d' h d' h g h d f e\prall d 1^\fermata \bar "|."
  }
  \context Staff = down <<
\new Voice {
  \stemUp \tieUp r16 c,8.~c,4~c,2 r16 h,,8.~h,,4~h,,2 c,1 \bar "|."
}
\new Voice {
  \stemDown \tieDown c,,2~c,, c,,~c,, c,,1_\fermata 
}
  >>
>>


\header {
  title = "Praeludium in C major"
  composer = "J. S. Bach"
}

\score {
  \transpose c c' \context PianoStaff <<
\new Staff = "up"   { \clef "G" }
\new Staff = "down" { \clef "F" 
  \tempo 4 = 80
  %%% The first measure should use notes c e g c' e' :
  \makePreludeMeasure {c e g c' e' }
  %%% Etc. :
  \makePreludeMeasure {c d a d' f' }
%we get the idea now.
%comment the following block if the snippet is too long.
  
  \makePreludeMeasure {h, d g d' f' }
  \makePreludeMeasure {c e g c' e' }
  
  \makePreludeMeasure {c e a e' a' }
  \makePreludeMeasure {c d fis a d'  }
  \makePreludeMeasure {h, d g d' g' }
  \makePreludeMeasure {h, c e g c' }
  \makePreludeMeasure {a, c e g c'  }
  \makePreludeMeasure {d, a, d fis c' }
  \makePreludeMeasure {g, h, d g h }
  \makePreludeMeasure {g, b, e g cis'  }
  \makePreludeMeasure {f, a, d a d' }
  \makePreludeMeasure {f, as, d f h }
  \makePreludeMeasure {e, g, c g c' }
  \makePreludeMeasure {e, f, a, c f }
  \makePreludeMeasure {d, f, a, c f }
  
  \makePreludeMeasure {g,, d, g, h, f }
  \makePreludeMeasure {c, e, g, c e }
  \makePreludeMeasure {c, g, b, c e }
  \makePreludeMeasure {f,, f, a, c e  }
  \makePreludeMeasure {fis,, c, a, c es }
  \makePreludeMeasure {as,, f, h, c d }
  \makePreludeMeasure {g,, f, g, h, d }
  \makePreludeMeasure {g,, e, g, c e }
  \makePreludeMeasure {g,, d, g, c f }
  \makePreludeMeasure {g

Removing bar lines between piano staff and ossia and making space between consecutive ossias

[Arle Lommel]

Thanks to everyone for recent help. I've been truly impressed by how helpful people have been for my requests.Now I have one more problem with the piano piece I am working on. I am using a pianoStaff, which works fine, except that I now have a portion with a bunch of ossia parts (almost one a measure) that occupy only about the span of an eighth note each. I have run into two issues that I cannot find addressed online anywhere, and I am hoping someone can help:1. When adding an ossia to a piano staff the bar lines are automatically connected down from the ossia to the main piano staff. Normally not a problem, but for the piece I am working on I don't want them connecting. I find plenty of snippets about how to remove bar lines in the staff while leaving them on between staves, but nothing about the reverse. It isn't for lack of searching for a solution and trying out various things. So can anyone make a suggestion on how to achieve this?2. In the first two instances where I call the ossia parts, there is one on the last half beat of a measure and a *separate* one on the first half beat of the next measure. Lilypond, quite logically, assumes that these should be stuck together (since there is no time between them) and under any other circumstance I would be happy for it to do so. But here it would be ideal if I could somehow put a little white space between them because I need to show that they are not a single continuous ossia but rather two separate optional performance variants.So here is what I have versus what I want (showing both changes):And here is a two measure example of the code (simplified from what is shown above to try to get closer to a tiny example:\version "2.16.1"staffPiano = \new PianoStaff {	\set PianoStaff.midiInstrument = #"acoustic grand"	\set PianoStaff.instrumentName = #"Piano"		\time 3/4<<		\context Staff = "top" { 			\clef treble			\key b \major			\relative c' {<<	{		\once \stemDown  \arpeggio	}\\	{		\tiny c''8\rest dis,8 dis4 dis4	}\\	{ \skip 2 \skip 8		<<			\new Staff = Ossia \with {alignAboveContext = #"top"fontSize = #-2\override StaffSymbol #'staff-space = #(magstep -2)\remove "Time_signature_engraver"\override Clef #'transparent = ##t			} {\override Staff.KeySignature #'stencil = ##f\key b \majorfis16 fis16 \ottava #0			}		>>			}>>|<<	{		fis8[ fis8] fis8[ fis8] fis8 fis8]	}	\context Staff = Ossia {		\startStaff r8 dis8 \stopStaff        			}>>			}		}		\context Staff = "bottom" { 		\clef bass			\key b \major			\relative c {fis,4 fis4 fis4 |fis4 fis4 fis4 |			}		}	>>}\score {	<<		\staffPiano	>>	  \layout {  	  \context {  	  	  \PianoStaff  	  	  \consists #Span_stem_engraver  	  	  \consists "Span_arpeggio_engraver"  	  }  }}Any suggestions would be welcome.-Arle Lommel___
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Re: balloonGrobText

[Noeck]

Am 12.12.2012 23:01, schrieb David Kastrup:
> Noeck  writes:
>> PS: Why such a strange name, balloonGrobText? Why not just annotation?
> 
> Because nobody sanitized this up to now.  It should probably get pretty
> much the same interface as \footnote.  However, the interface of
> \footnote changed about monthly for quite a while, so it made sense
> getting this right first.

Thats nice to hear and sounds very reasonable. For me it's not urgent
and I also thought that it is very similar to footnote.

I systematically tested the features of balloonGrobText with these Objects:
http://lilypond.org/doc/v2.16/Documentation/internals/all-layout-objects
If the issues I stumbled upon are interesting for you developers, I
could collect them and write down some more issues I found.

Btw, I am trying to make a "graphical index" (score with links) to the
internals reference. I will let you know when I am done.

Cheers,
Joram

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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Wed, Dec 12, 2012 at 4:48 PM, Hans Aberg  wrote:
> On 12 Dec 2012, at 21:16, Eric Pancer wrote:
>
>> On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
>>> The libexec route appears to cater for all of that.  We should use bin
>>> just for executables supposed to be entry points of LilyPond.
>>
>> Please, no!
>>
>> From man 1 hier
>>  libexec/  system daemons & system utilities (executed by
>> other programs)
> ...
>> local/executables, libraries, etc. not included by the
>> basic operating system
>
> There is a Filesystem Hierarchy Standard
>   http://www.pathname.com/fhs/
>   https://en.wikipedia.org/wiki/Filesystem_Hierarchy_Standard

Right, like hier(1) describes. FHS looks to be rather Linux-specific.
Correct me if I'm wrong.

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Re: Snippet "music box" does not work in 2.16

[Eric]

> (pnew (ly:music-property (list-ref pitches i) 'pitch))

Thanks, it works perfectly :^)


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Re: Lilypond in Mac OS X Terminal

[Hans Aberg]

On 12 Dec 2012, at 23:50, Eric Pancer wrote:

> On Wed, Dec 12, 2012 at 4:48 PM, Hans Aberg  wrote:
>> On 12 Dec 2012, at 21:16, Eric Pancer wrote:
>> 
>>> On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
 The libexec route appears to cater for all of that.  We should use bin
 just for executables supposed to be entry points of LilyPond.
>>> 
>>> Please, no!
>>> 
>>> From man 1 hier
>>> libexec/  system daemons & system utilities (executed by
>>>other programs)
>> ...
>>>local/executables, libraries, etc. not included by the
>>>basic operating system
>> 
>> There is a Filesystem Hierarchy Standard
>>  http://www.pathname.com/fhs/
>>  https://en.wikipedia.org/wiki/Filesystem_Hierarchy_Standard
> 
> Right, like hier(1) describes. FHS looks to be rather Linux-specific.
> Correct me if I'm wrong.

Linux is a strictly speaking a kernel, like Mac OS X is running the kernel 
Mach, often combined with what is called GNU OS. Mac OS X derives originally 
from FreeBSD.

As for the standard, it is a development of BSD old traditions. So a similar 
origin of OSs make them putting stuff in similar places, but with some 
differences.

As for the POSIX/UNIX standards, they have no so such requirements, so in 
general, there can be quite some variation.

Hans



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Re: Removing bar lines between piano staff and ossia and making space between consecutive ossias

[Eluze]

fenevad wrote
> 2. In the first two instances where I call the ossia parts, there is one
> on the last half beat of a measure and a *separate* one on the first half
> beat of the next measure. Lilypond, quite logically, assumes that these
> should be stuck together (since there is no time between them) and under
> any other circumstance I would be happy for it to do so. But here it would
> be ideal if I could somehow put a little white space between them because
> I need to show that they are not a single continuous ossia but rather two
> separate optional performance variants.

maybe stopping the first ossia and putting a small 

\grace s64 

before re-starting the staff in the 2nd ossia part?

Eluze



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Re: Lilypond in Mac OS X Terminal

[Hans Aberg]

On 12 Dec 2012, at 21:16, Eric Pancer wrote:

> On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
>> The libexec route appears to cater for all of that.  We should use bin
>> just for executables supposed to be entry points of LilyPond.
> 
> Please, no!
> 
> From man 1 hier
>  libexec/  system daemons & system utilities (executed by
> other programs)
...
> local/executables, libraries, etc. not included by the
> basic operating system

There is a Filesystem Hierarchy Standard
  http://www.pathname.com/fhs/
  https://en.wikipedia.org/wiki/Filesystem_Hierarchy_Standard

Hans



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Re: Removing bar lines between piano staff and ossia and making space between consecutive ossias

[Thomas Morley]

Hi Arle,

2012/12/12 Arle Lommel 

> Thanks to everyone for recent help. I've been truly impressed by how
> helpful people have been for my requests.
>
> Now I have one more problem with the piano piece I am working on. I am
> using a pianoStaff, which works fine, except that I now have a portion with
> a bunch of ossia parts (almost one a measure) that occupy only about the
> span of an eighth note each. I have run into two issues that I cannot find
> addressed online anywhere, and I am hoping someone can help:
>
> 1. When adding an ossia to a piano staff the bar lines are automatically
> connected down from the ossia to the main piano staff. Normally not a
> problem, but for the piece I am working on I don't want them connecting. I
> find plenty of snippets about how to remove bar lines in the staff while
> leaving them on between staves, but nothing about the reverse. It isn't for
> lack of searching for a solution and trying out various things. So can
> anyone make a suggestion on how to achieve this?
>

Try
\once \override Staff.BarLine #'allow-span-bar = ##f
as shown below.


>
> 2. In the first two instances where I call the ossia parts, there is one
> on the last half beat of a measure and a *separate* one on the first half
> beat of the next measure. Lilypond, quite logically, assumes that these
> should be stuck together (since there is no time between them) and under
> any other circumstance I would be happy for it to do so. But here it would
> be ideal if I could somehow put a little white space between them because I
> need to show that they are not a single continuous ossia but rather two
> separate optional performance variants.
>

One way would be to scale the last note of the first ossia add \stopStaff
ans the remaining note-value as a spacer-rest.

\version "2.16.1"

staffPiano =
\new PianoStaff {
\set PianoStaff.midiInstrument = #"acoustic grand"
\set PianoStaff.instrumentName = #"Piano"
\time 3/4

<<
\context Staff = "top" {
\clef treble
\key b \major
\relative c' {
<<
  {
\once \stemDown

\arpeggio
  }
  \\
  {
\tiny c''8\rest dis,8 dis4 dis4
  }
  \\
  {
s2 s8 % why /skip?
% <<
\new Staff = "Ossia" \with {
alignAboveContext = #"top"
fontSize = #-2
\override StaffSymbol #'staff-space =
#(magstep -2)
\remove "Time_signature_engraver"
\override Clef #'transparent = ##t
\override KeySignature #'stencil = ##f
} % end \with for ossia-staff
{
\key b \major
%% scaling the latter 16th to insert a
s32 later.
fis16 fis16*1/2 \ottava #0
\stopStaff
s32
%% setting BarLine 'transparent for
ossia-staff.
\once \override Staff.BarLine
#'transparent = ##t
%% disallow span-bar for ossia-staff.
\once \override Staff.BarLine
#'allow-span-bar = ##f
}
% >>
  }
  >>
  |
% bar 2
<<
  {
fis8[ fis8] fis8[ fis8] fis8 fis8]
  }
 \context Staff = "Ossia" {
 \startStaff
 r8 dis8
 \stopStaff
 }
>>
}
} % top-staff

\context Staff = "bottom" {
\clef bass
\key b \major
\relative c {
fis,4 fis4 fis4 |
fis4 fis4 fis4 |
}
} % end bottom-staff
>>
} % end PianoStaff

\score {
<<
\staffPiano
>>
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
\consists "Span_arpeggio_engraver"
}
} % end layout
} % end score

HTH,
  Harm
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Re: Lilypond in Mac OS X Terminal

[Eric Pancer]

On Dec 12, 2012, at 16:57, Hans Aberg  wrote:

> On 12 Dec 2012, at 23:50, Eric Pancer wrote:
> 
>> On Wed, Dec 12, 2012 at 4:48 PM, Hans Aberg  wrote:
>>> On 12 Dec 2012, at 21:16, Eric Pancer wrote:
>>> 
 On Wed, Dec 12, 2012 at 2:14 PM, David Kastrup  wrote:
> The libexec route appears to cater for all of that.  We should use bin
> just for executables supposed to be entry points of LilyPond.
 
 Please, no!
 
 From man 1 hier
libexec/  system daemons & system utilities (executed by
   other programs)
>>> ...
   local/executables, libraries, etc. not included by the
   basic operating system
>>> 
>>> There is a Filesystem Hierarchy Standard
>>> http://www.pathname.com/fhs/
>>> https://en.wikipedia.org/wiki/Filesystem_Hierarchy_Standard
>> 
>> Right, like hier(1) describes. FHS looks to be rather Linux-specific.
>> Correct me if I'm wrong.
> 
> Linux is a strictly speaking a kernel, like Mac OS X is running the kernel 
> Mach, often combined with what is called GNU OS. Mac OS X derives originally 
> from FreeBSD.

Yes I know. 

> 
> As for the standard, it is a development of BSD old traditions. So a similar 
> origin of OSs make them putting stuff in similar places, but with some 
> differences.
> 

Right. 

> As for the POSIX/UNIX standards, they have no so such requirements, so in 
> general, there can be quite some variation.

Right. What's the point here?


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Re: Lilypond in Mac OS X Terminal

[Paul Morris]

On Dec 12, 2012, at 6:13 PM, Parham Fazelzadeh  
wrote:

> I have tried searching for the answer online

[...]

> thank you so much. I feel stupid now, can't believe I missed that. I guess my 
> eyes were looking for the word "terminal". Also, I would have maybe expected 
> that information to also exist under the Manual link and not Downloads! 

Hmmm... it might be good to include the word "Terminal" (the default OS X 
command-line app) somewhere on the following page, since it is a term that many 
mac users would use when searching the web search for this information. 

http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x

Just a thought,
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Re: 4-Drum Conga Notation in LilyPond

[Thomas Morley]

2012/12/12 Eric Pancer :
> On Wed, Dec 12, 2012 at 2:33 PM, Eric Pancer  wrote:
>> While writing some conga exercises (for four drums) in Lilypond, I've
>> found I can get by using the following notes*:
>>  - bd (super tumba)
>>  - toml (tumba)
>>  - sn (conga)
>>
>> However, I'm looking for a 4th pitch to notate a quinto (high drum)
>> and would like to use E6 (4th space in treble clef). Since there's no
>> standard notehead for that in
>> ,
>> could someone please advise on how to change my file to redefine the
>> pitch with the correct notehead?
>
> I've got this working using the following definition:
>
> #(define mydrums '(
> (bassdrum  default   #f  -3)
> (snaredefault   #f0)
> (hihat default #f  1)
> (lowtom default   #f 3)))
>
> Of course I don't exactly understand what the #f is, but do get the
> numerical values are positions in the staff. A bit of explanation
> could help me.

Every entry in your new list consists of the name, note-head,
use-which-script-sign? and staff-position.

>> Also, is there an easy way to make each pitch with an "x" (slap)?

I'm not sure what you want with the "x-slap". Below I've set the
NoteHead to cross and additional I've used some crazy script-signs to
demonstrate. I'm sure you'll want to alter them. :)

You could have a look in /ly/drumpitch-init.ly and in /scm/script.scm
for more info about the code.

\version "2.16.1"

#(define mydrums '(
   (bassdrum  cross   "coda" -3)
   (snare cross   "upbow"   0)  
   (hihat cross   "espressivo"   1) 
   (lowtomcross   "reverseturn"   3)))  

dr = \drummode { bd4 sn hh toml }

\new DrumStaff <<
  \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
  \new DrumVoice \dr
>>

HTH,
  Harm

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Re: Lilypond in Mac OS X Terminal

[Parham Fazelzadeh]

Hey guys,

thank you so much. I feel stupid now, can't believe I missed that. I guess
my eyes were looking for the word "terminal". Also, I would have maybe
expected that information to also exist under the Manual link and not
Downloads!

either way, big thanks
/Parham

On 13 December 2012 00:25, Paul Morris  wrote:

> On Dec 12, 2012, at 9:31 AM, Parham FH  wrote:
>
> > I am curious if it is possible to run lilypond from the Mac OS X
> > (my case: 10.6.8) terminal
>
> Instructions are here:
> http://www.lilypond.org/doc/v2.16/Documentation/web/macos-x
>
> "Running on the command-line"
>
> Cheers,
> -Paul
>
>
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Re: Tweaking notehead direction in chords

[Thomas Morley]

2012/12/11 Paul Morris :
> Below is a revised version
[...]

Hi Paul,

I had a look at the LSR-snippet
http://lsr.dsi.unimi.it/LSR/Item?id=861

It's no problem to make it work with 2.14.2 just adding a $-sign
before offsets in the music-function.

But you will have noticed that after applying the function an
additional override for 'stem-attachment is necessary in many cases.
You should show how to do this. At least for some examples.

In general I'd prefer to have a more automated way for offsetting the NoteHeads.
The hardcoded value of 1.251178 will change for different NoteHeads and styles.

I'll continue to think about it. ;)


Regards,
  Harm

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Re: Tweaking notehead direction in chords

[David Nalesnik]

Hi Harm,

On Wed, Dec 12, 2012 at 6:24 PM, Thomas Morley
 wrote:
> 2012/12/11 Paul Morris :
>> Below is a revised version
> [...]
>
> Hi Paul,
>
> I had a look at the LSR-snippet
> http://lsr.dsi.unimi.it/LSR/Item?id=861
>
> It's no problem to make it work with 2.14.2 just adding a $-sign
> before offsets in the music-function.
>
> But you will have noticed that after applying the function an
> additional override for 'stem-attachment is necessary in many cases.
> You should show how to do this. At least for some examples.
>
> In general I'd prefer to have a more automated way for offsetting the 
> NoteHeads.
> The hardcoded value of 1.251178 will change for different NoteHeads and 
> styles.
>

I saw that hardcoded value and wrote the following code which arrives
at 1.251178 (though that value uses only half the stem's extent).
Haven't tried it with other heads/styles.

#(define ((shift offsets) grob)
 (let* ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads)))
(stem (ly:grob-object grob 'stem))
(stem-ext (ly:grob-property stem 'X-extent)))
   (for-each
 (lambda (p q)
   (let ((head-ext (interval-length (ly:grob-property p 'X-extent
 (ly:grob-translate-axis! p (* q (- head-ext (cdr stem-ext))) X)))
 note-heads offsets)))

displaceHeads =
#(define-music-function (parser location offsets) (list?)
 #{
   \once \override NoteColumn #'before-line-breaking = #(shift offsets)
 #}
)

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Re: Tweaking notehead direction in chords

[Paul Morris]

On Dec 12, 2012, at 7:24 PM, Thomas Morley  
wrote:

> Hi Paul,
> 
> I had a look at the LSR-snippet
> http://lsr.dsi.unimi.it/LSR/Item?id=861
> 
> It's no problem to make it work with 2.14.2 just adding a $-sign
> before offsets in the music-function.
> 
> But you will have noticed that after applying the function an
> additional override for 'stem-attachment is necessary in many cases.
> You should show how to do this. At least for some examples.
> 
> In general I'd prefer to have a more automated way for offsetting the 
> NoteHeads.
> The hardcoded value of 1.251178 will change for different NoteHeads and 
> styles.
> 
> I'll continue to think about it. ;)
> 
> 
> Regards,
>  Harm


Hi Harm,

Thanks for taking a look at it and for the tip on using a $-sign for 2.14.2.  I 
was also thinking about the best way to correct the 'stem-attachment values.  
It would be nice if that could be automatic.

I had emailed David Nalesnik to ask about posting his code to the LSR, and he 
also had the concern about the hard-coded 1.251178.  He sent me the following 
which automatically calculates the offset amount based on the width of the 
NoteHead, so I will update the snippet with this revision.

#(define ((shift offsets) grob)
(let* ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads)))
   (stem (ly:grob-object grob 'stem))
   (stem-ext (ly:grob-property stem 'X-extent)))
  (for-each
(lambda (p q)
  (let ((head-ext (interval-length (ly:grob-property p 'X-extent
(ly:grob-translate-axis! p (* q (- head-ext (cdr stem-ext))) X)))
note-heads offsets)))

displaceHeads =
#(define-music-function (parser location offsets) (list?)
#{
  \once \override NoteColumn #'before-line-breaking = #(shift offsets)
#}
)

Regards,
-Paul
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Re: Tweaking notehead direction in chords

[Thomas Morley]

Hi David (N), Paul,

2012/12/13 Paul Morris :
> On Dec 12, 2012, at 7:24 PM, Thomas Morley  
> wrote:
>
>> Hi Paul,
>>
>> I had a look at the LSR-snippet
>> http://lsr.dsi.unimi.it/LSR/Item?id=861
>>
>> It's no problem to make it work with 2.14.2 just adding a $-sign
>> before offsets in the music-function.
>>
>> But you will have noticed that after applying the function an
>> additional override for 'stem-attachment is necessary in many cases.
>> You should show how to do this. At least for some examples.
>>
>> In general I'd prefer to have a more automated way for offsetting the 
>> NoteHeads.
>> The hardcoded value of 1.251178 will change for different NoteHeads and 
>> styles.
>>
>> I'll continue to think about it. ;)
>>
>>
>> Regards,
>>  Harm
>
>
> Hi Harm,
>
> Thanks for taking a look at it and for the tip on using a $-sign for 2.14.2.  
> I was also thinking about the best way to correct the 'stem-attachment 
> values.  It would be nice if that could be automatic.
>
> I had emailed David Nalesnik to ask about posting his code to the LSR, and he 
> also had the concern about the hard-coded 1.251178.  He sent me the following 
> which automatically calculates the offset amount based on the width of the 
> NoteHead, so I will update the snippet with this revision.
>
> #(define ((shift offsets) grob)
> (let* ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads)))
>(stem (ly:grob-object grob 'stem))
>(stem-ext (ly:grob-property stem 'X-extent)))
>   (for-each
> (lambda (p q)
>   (let ((head-ext (interval-length (ly:grob-property p 'X-extent
> (ly:grob-translate-axis! p (* q (- head-ext (cdr stem-ext))) X)))
> note-heads offsets)))
>
> displaceHeads =
> #(define-music-function (parser location offsets) (list?)
> #{
>   \once \override NoteColumn #'before-line-breaking = #(shift offsets)
> #}
> )
>
> Regards,
> -Paul

I've seen the updated version in the LSR already and tend to approve it as is.
I doubt it could be possible to create an automatism for 'stem-attachment.

I tried to break the code, though.
And noticed that adding Fingering, StringNumber and Script will result
in some strange not aligned output.
Adding a stencil-tweak switches it to funny.
->png

\version "2.16.1"

% displaceHeads is omitted

#(define rhomb-note
  (lambda (grob)
(let* ((stencil (ly:note-head::print grob))
   (new-stil
 (grob-interpret-markup grob
   (markup #:rotate -45 #:box #:rotate 45 #:stencil  stencil
new-stil)))

\relative c' {
 \displaceHeads #'(1 0 1 1)
 <\tweak #'stencil #rhomb-note b\1 cis-1\2  eis-2\3 gis-3\4 >4-.---|
}

It is much easier to break code than to create it.
I should do more review-work.
:D


-Harm
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Re: Tweaking notehead direction in chords

[Paul Morris]

Hi Harm,

On Dec 12, 2012, at 9:03 PM, Thomas Morley  
wrote:

> I've seen the updated version in the LSR already and tend to approve it as is.
> I doubt it could be possible to create an automatism for 'stem-attachment.

Ok, I went ahead and added examples of manual overrides for fixing stem 
attachment problems.  I used the stem-attachment property for single notes, but 
I couldn't get it to work with chords, so I used the Stem's stem-begin-position 
property instead.  


> I tried to break the code, though.

I found a good way to break it.  If you try it with whole notes the stem's 
X-extent is (+inf.0 . -inf.0) and you get this error: "programming error: 
Infinity or NaN encountered" 

So I tried to work around this with the code below, but when I uploaded it to 
the LSR something went wrong, no error messages or anything but the preview 
page was just blank.[1]  I put the previous version back but it was still 
blank, so I must have broken something.

[1] http://lsr.dsi.unimi.it/LSR/Item?u=1&id=861

#(define ((shift offsets) grob)
(let* ((note-heads (ly:grob-array->list (ly:grob-object grob 'note-heads)))
   (stem (ly:grob-object grob 'stem))
   (stem-ext (ly:grob-property stem 'X-extent))
   (half-stem-ext (if (= -inf.0 (cdr stem-ext)) 0 (cdr stem-ext
  (for-each
(lambda (p q)
  (let ((head-ext (interval-length (ly:grob-property p 'X-extent
(ly:grob-translate-axis! p (* q (- head-ext half-stem-ext)) X)))
note-heads offsets)))

displaceHeads =
#(define-music-function (parser location offsets) (list?)
#{
  \once \override NoteColumn #'before-line-breaking = #(shift offsets)
#}
)

 EXAMPLE 

theMusic = \relative c' {
 e4

 \displaceHeads #'(1) 
 \once \override Staff.NoteHead #'stem-attachment = #'(1.09 . -0.34)
 e

 d'

 \displaceHeads #'(-1) 
 \once \override Staff.NoteHead #'stem-attachment = #'(1.11 . -0.34)
 d

 

 \displaceHeads #'(0 1) 

 

 \displaceHeads #'(-1 0) 

 

 \displaceHeads #'(1 0 0) 
 \once \override Staff.Stem #'stem-begin-position = #-3.3 
 

 

 \displaceHeads #'(-1 -1 0) 

 4

 \displaceHeads #'(0 -1 0 0) 4

 4

 \displaceHeads #'(1 0 0 0) 
 \once \override Staff.Stem #'stem-begin-position = #-4.3 
 4
}

\new Staff {
 \theMusic
}


> And noticed that adding Fingering, StringNumber and Script will result
> in some strange not aligned output.

Huh, that's weird.


> Adding a stencil-tweak switches it to funny.
> ->png
> 
> \version "2.16.1"
> 
> % displaceHeads is omitted
> 
> #(define rhomb-note
>  (lambda (grob)
>(let* ((stencil (ly:note-head::print grob))
>   (new-stil
> (grob-interpret-markup grob
>   (markup #:rotate -45 #:box #:rotate 45 #:stencil  stencil
>new-stil)))
> 
> \relative c' {
> \displaceHeads #'(1 0 1 1)
> <\tweak #'stencil #rhomb-note b\1 cis-1\2  eis-2\3 gis-3\4 >4-.---|
> }
> 
> It is much easier to break code than to create it.

So true!  

Cheers, 
-Paul


> I should do more review-work.
> :D
> 
> 
> -Harm
> 


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Re: Displaying string number above fingering

[Keith OHara]

David Kastrup  gnu.org> writes:

> Keith OHara  oco.net> writes:
> 
> > The irregular behavior Oliver sees occurs when there is no <> chord
> > indication.
> 
> Fingering_engraver

Well, fingerings go to Fingering_engraver but the string-numbers go to 
New_fingering_engraver.  (Better than version 2.14, when string-numbers they 
were simply dropped.)   I opened bug-tracker issue


> > Then there is the problem \thumb is different than other fingerings...
> 
> We should likely try doing something about that, though.

I see no urgency, since there was a very similar bug-report 

satisfied to everyone's satisfaction.  Making \thumb like the other fingerings
would still give wrong output for Olivier's example (just wrong in a more 
regular way).


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Re: Displaying string number above fingering

[Keith OHara]

Keith OHara  oco.net> writes:

> There are two or 
> three separate pieces of code setting fingerings and scripts according to
> different combinations of rules,

> It seems if we give Fingerings and StringNumbers different script-priorities 
> by default, as David suggested, it would render a lot of this (buggy) 
> code moot.

Looking closer, each piece of code is self-consistent, not buggy.

The simple fix looks good for cello, but not good for the overall default.

If we give StringNumbers larger script-priority than Fingerings by default,
then when somebody has a guitar chord where a couple fingerings and 
string-numbers need to go above the chord, we would put both StringNumbers
outside both Fingerings, which would be hard to read and frustrating to fix.



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need more help with spacing overrides

[ed stuckems]

I'd like to increase the distance between piano staffs (the two staves
connected by the brace).  After looking through the IR, I think the
skyline-horizontal-padding of the system-interface is what need to be
changed.  My attempts have failed and I don't know if it's because my
override commands were directed at the wrong context or if the
skyline-horizontal-padding is not the correct parameter to set.  Can
anyone tell me how the increase the distance between  (not within) the
piano staffs?

regards,
eds

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Re: need more help with spacing overrides

[Keith OHara]

ed stuckems  gmail.com> writes:

> 
> I'd like to increase the distance between piano staffs

  \new PianoStaff \with {
\override StaffGrouper #'staff-staff-spacing #'basic-distance = #20
  } <<
\new Staff { c'1 }
\new Staff { c'1 } >>





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Re: Removing bar lines between piano staff and ossia and making space between consecutive ossias

[Arle Lommel]

Thomas,

Thanks so much. That got me about 90% of the way there, but playing around with 
what you did got me the other 10% of the way there, so that does it. What was 
missing for me was the  "\once \override Staff.BarLine #'allow-span-bar = ##f", 
which was obvious in its intent, but which my previous searches had not 
discovered.

The *1/2 bit I also wasn't familiar with, but it solves things and it looks 
like I can use it many other places in the score where I find that Lilypond is 
being too literal in its mapping of note duration to physical length. So I get 
an added benefit from your explanation :-)

Best,

Arle


On 2012 Dec 13, at 00:19 , Thomas Morley  wrote:

> Hi Arle,
> 
> 2012/12/12 Arle Lommel 
> Thanks to everyone for recent help. I've been truly impressed by how helpful 
> people have been for my requests.
> 
> Now I have one more problem with the piano piece I am working on. I am using 
> a pianoStaff, which works fine, except that I now have a portion with a bunch 
> of ossia parts (almost one a measure) that occupy only about the span of an 
> eighth note each. I have run into two issues that I cannot find addressed 
> online anywhere, and I am hoping someone can help:
> 
> 1. When adding an ossia to a piano staff the bar lines are automatically 
> connected down from the ossia to the main piano staff. Normally not a 
> problem, but for the piece I am working on I don't want them connecting. I 
> find plenty of snippets about how to remove bar lines in the staff while 
> leaving them on between staves, but nothing about the reverse. It isn't for 
> lack of searching for a solution and trying out various things. So can anyone 
> make a suggestion on how to achieve this?
> 
> Try 
> \once \override Staff.BarLine #'allow-span-bar = ##f
> as shown below.
>  
> 
> 2. In the first two instances where I call the ossia parts, there is one on 
> the last half beat of a measure and a *separate* one on the first half beat 
> of the next measure. Lilypond, quite logically, assumes that these should be 
> stuck together (since there is no time between them) and under any other 
> circumstance I would be happy for it to do so. But here it would be ideal if 
> I could somehow put a little white space between them because I need to show 
> that they are not a single continuous ossia but rather two separate optional 
> performance variants.
> 
> One way would be to scale the last note of the first ossia add \stopStaff ans 
> the remaining note-value as a spacer-rest.
>  
> \version "2.16.1"
> 
> staffPiano = 
> \new PianoStaff {
> \set PianoStaff.midiInstrument = #"acoustic grand"
> \set PianoStaff.instrumentName = #"Piano"
> \time 3/4
> 
> <<
> \context Staff = "top" { 
> \clef treble
> \key b \major
> \relative c' {
> <<
>   {
> \once \stemDown 
>  \arpeggio
>   }
>   \\
>   {
> \tiny c''8\rest dis,8 dis4 dis4
>   }
>   \\
>   { 
> s2 s8 % why /skip?
> % <<
> \new Staff = "Ossia" \with {
> alignAboveContext = #"top"
> fontSize = #-2
> \override StaffSymbol #'staff-space = 
> #(magstep -2)
> \remove "Time_signature_engraver"
> \override Clef #'transparent = ##t
> \override KeySignature #'stencil = ##f
> } % end \with for ossia-staff 
> {
> \key b \major
> %% scaling the latter 16th to insert a 
> s32 later.
> fis16 fis16*1/2 \ottava #0
> \stopStaff 
> s32
> %% setting BarLine 'transparent for 
> ossia-staff.
> \once \override Staff.BarLine 
> #'transparent = ##t
> %% disallow span-bar for ossia-staff.
> \once \override Staff.BarLine 
> #'allow-span-bar = ##f
> }
> % >>
>   }
>   >>
>   |
> % bar 2
> <<
>   {
> fis8[ fis8] fis8[ fis8] fis8 fis8]
>   }
>  \context Staff = "Ossia" {
>  \startStaff 
>  r8 dis8 
>