Re: How to get a book twice with different page-footers?

[Ian Hulin]

Hi Harm,
Many thanks for the work-round, I'd found this problem too a while ago,
but am only just catching up with this list.

Cheers,  :-) Ian

On 22/03/13 21:27, Thomas Morley wrote:
> Hi Jan-Peter,
> 
> thanks for your reply.
> 
> 2013/3/22 Jan-Peter Voigt :
>> Hello Harm,
>>
>> I don't have a solution, but I found, that not-first-page is not defined in
>> the global space. You can't access it with $(display not-first-page).
> 
> Yep.
> That's the problem.
> 
>> If you (re-)define a procedure #(define (not-first-page layout props arg)
>> (interpret-markup layout props arg)) the example compiles.
>> So propably there is a way to expose the needed functions/vars to another
>> scope?
> 
> I found a very simple solution:
> Instead of redefining all definitions from /ly/titling-init.ly I
> simply include titling-init.ly
> 
> Et voil�:
> 
> \version "2.16.2"
> 
> \include "titling-init.ly"
> 
> myname = #(ly:parser-output-name parser)
> 
> oddFooterMarkupI =
>   \markup \fill-line { "XYZ" }
> 
> oddFooterMarkupII =
>   \markup {
>   \on-the-fly #not-first-page
>   \fill-line { \with-color #red "123" }
>   }
> 
> writeBookTwice =
> #(define-void-function (parser location book)
>(ly:book?)
> 
>; process with oddFooterMarkupI
>(ly:output-def-set-variable!
>   (ly:book-paper book)
>   'oddFooterMarkup
>   oddFooterMarkupI)
>(ly:book-process
>   book
>   $defaultpaper
>   $defaultlayout
>   myname)
> 
>; process with oddFooterMarkupII
>(ly:output-def-set-variable!
>   (ly:book-paper book)
>   'oddFooterMarkup
>   oddFooterMarkupII)
>(ly:book-process
>   book
>   $defaultpaper
>   $defaultlayout
>   (format "~a-other-footer" myname)))
> 
> 
> \writeBookTwice
>   \book {
> \bookpart { \repeat unfold 2 { c''1 \pageBreak } }
> \bookpart { \repeat unfold 2 { cis''1 \pageBreak } }
>   }
> 
> 
> Works.
> Though, I've to test it with some larger real-life-examples.
> 
> 
> Cheers,
>   Harm
> 



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Re: Vocal music sheet - hyphens wrongly engraved

[Phil Holmes]

- Original Message - 
From: "Janek Warchoł" 

To: "Phil Holmes" 
Cc: "Jun Wang" ; "LilyPond Users" 


Sent: Thursday, April 11, 2013 11:45 AM
Subject: Re: Vocal music sheet - hyphens wrongly engraved



Phil.

2013/4/11 Phil Holmes :

Jun,

[...]
I hope my notes have been useful and you'll persevere with my converter 
and
lilypond.  There's some learning to do, but the results are worth it, 
IMHO.


Is the attached pdf the default output after running the song through
the converter?  If so, i'm impressed!
Janek



Yes.  There are a few lilypond commands embedded in the song file (a couple 
of voicings and a \partial) but no edits are made to the lilypond files 
themselves - I do _all_ my layout in noteworthy.


--
Phil Holmes 



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Re: Vocal music sheet - hyphens wrongly engraved

[David Kastrup]

"Phil Holmes"  writes:

> Jun,
>
> There are a number of "challenges" with this song file.  It's these
>that produce the errors rather than versions of lilypond.  I thought it
>might be better to run through the errors and their fixes line by line
>- hopefully this will help you into the future.  I'll put my commented
>fixes in a different colour, and apologise to those who don't get on
>with HTML or top posting  Here's the logfile output:
>
> GNU LilyPond 2.16.0
> Processing `D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly'
> Parsing...
> D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:168: error: GUILE 
> signaled an error for the expression beginning here
>   title = \markup \fill-line { \line {} \line { Source: Pentecostal Hymns 
> Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The Hope Publishing 
> Company, 1894), #
>   
>   
>  427.} }
>
> D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:167: error: not a markup
>   title = \markup \fill-line { \line {} \line { Source: Pentecostal Hymns 
> Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The Hope Publishing 
> Company, 1894), 
>   
>   
># 427.} }
>
> This is a problem with the information in your file - the comments
> include a #, which is a reserved character for lilypond.  I could add
> a feature to my converter to allow this, but the simplest fix is to
> change # to No.

Why aren't you enclosing strings in "..." ?  That seems to make much
more sense.

-- 
David Kastrup


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Re: Vocal music sheet - hyphens wrongly engraved

[Janek Warchoł]

Phil.

2013/4/11 Phil Holmes :
> Jun,
>
> [...]
> I hope my notes have been useful and you'll persevere with my converter and
> lilypond.  There's some learning to do, but the results are worth it, IMHO.

Is the attached pdf the default output after running the song through
the converter?  If so, i'm impressed!
Janek

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Re: Vocal music sheet - hyphens wrongly engraved

[Phil Holmes]

- Original Message - 
From: "David Kastrup" 

To: 
Sent: Thursday, April 11, 2013 11:43 AM
Subject: Re: Vocal music sheet - hyphens wrongly engraved



"Phil Holmes"  writes:


Jun,

There are a number of "challenges" with this song file.  It's these
that produce the errors rather than versions of lilypond.  I thought it
might be better to run through the errors and their fixes line by line
- hopefully this will help you into the future.  I'll put my commented
fixes in a different colour, and apologise to those who don't get on
with HTML or top posting  Here's the logfile output:

GNU LilyPond 2.16.0
Processing `D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly'
Parsing...
D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:168: error: GUILE 
signaled an error for the expression beginning here
  title = \markup \fill-line { \line {} \line { Source: Pentecostal Hymns 
Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The Hope 
Publishing Company, 1894), #


427.} }

D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:167: error: not a 
markup
  title = \markup \fill-line { \line {} \line { Source: Pentecostal Hymns 
Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The Hope 
Publishing Company, 1894),


# 427.} }

This is a problem with the information in your file - the comments
include a #, which is a reserved character for lilypond.  I could add
a feature to my converter to allow this, but the simplest fix is to
change # to No.


Why aren't you enclosing strings in "..." ?  That seems to make much
more sense.

--
David Kastrup



As a general comment - I've not done much with my converter to use the 
"comments" field of Noteworthy.  So I've not put the strings within ".." 
because I've never really tackled that part of the conversion.  IIRC there 
are often problems with simply enclosing everything in ".." - word wrap, for 
example.


--
Phil Holmes 



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Re: call for italian users: translation of "feathered beams" and other terms

[Ian Hulin]

Hi Federico and Davide,

In English we use the Italian work portamento when singers or players
want to scoop between notes.

Aren't "doit" and "fall" forms of portamento without a define
start/end note?

"Doit" (pron do-it) is a portamento up to the notated pitch, "Fall" is
a portamento down from the notated pitch (hence "falling" off the note.

HTH

Cheers,

Ian

On 10/04/13 21:47, Federico Bruni wrote:
> 
> 2013/4/10 Davide Liessi  >
> 
>> direct
> I can't understand this glossary entry, since there isn't enough 
> context. I don't think it is specifically a musical term, and I
> couldn't find occurrences of "direct" in NR with a different
> meaning from the usual, literal, common one. Why is "direct" in the
> glossary? Why is it related to "custos"?
> 
> 
> no idea, I'll leave it untranslated
> 
> 
>> doit fall
> Don't know an Italian term for these; maybe you could translate
> them like they did in German: "glissando indeterminato verso
> l'alto/il basso" or "... verso l'acuto/il grave".
> 
> 
> I think that it refers to "bending". We don't have a term in
> italian. Maybe: "piegatura della nota verso l'alto/basso
> (bending)"
> 
> 
> 
> ___ lilypond-user
> mailing list lilypond-user@gnu.org 
> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 



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Re: Vocal music sheet - hyphens wrongly engraved

[David Kastrup]

"Phil Holmes"  writes:

>> "Phil Holmes"  writes:
>>
>>> Jun,
>>>
>>> There are a number of "challenges" with this song file.  It's these
>>>that produce the errors rather than versions of lilypond.  I thought it
>>>might be better to run through the errors and their fixes line by line
>>>- hopefully this will help you into the future.  I'll put my commented
>>>fixes in a different colour, and apologise to those who don't get on
>>>with HTML or top posting  Here's the logfile output:
>>>
>>> GNU LilyPond 2.16.0
>>> Processing `D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly'
>>> Parsing...
>>> D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:168: error:
>>> GUILE signaled an error for the expression beginning here
>>>   title = \markup \fill-line { \line {} \line { Source: Pentecostal
>>> Hymns Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The
>>> Hope Publishing Company, 1894), #
>>>
>>> 427.} }
>>>
>>> D:/Music/NWC2Ly/Though Your Sins Be as Scarlet.ly:12:167: error:
>>> not a markup
>>>   title = \markup \fill-line { \line {} \line { Source: Pentecostal
>>> Hymns Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The
>>> Hope Publishing Company, 1894),
>>>
>>> # 427.} }
>>>
>>> This is a problem with the information in your file - the comments
>>> include a #, which is a reserved character for lilypond.  I could add
>>> a feature to my converter to allow this, but the simplest fix is to
>>> change # to No.
>>
>> Why aren't you enclosing strings in "..." ?  That seems to make much
>> more sense.
>>
>> -- 
>> David Kastrup
>
>
> As a general comment - I've not done much with my converter to use the
> "comments" field of Noteworthy.  So I've not put the strings within
> ".." because I've never really tackled that part of the conversion.
> IIRC there are often problems with simply enclosing everything in ".."
> - word wrap, for example.

You wrote \line anyway, so there will be no word wrap.

-- 
David Kastrup

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RE: Vocal music sheet - hyphens wrongly engraved

[Jun Wang]

Hi PhilYour notes is very helpful, appreciate your help to fix it.  good to 
know you fixed a bug because of this.Alex Voice also helped me to cleanup the 
lilypond file generated from musicxml which has same problem of not handling 
partial measure.I will review the pdf later or at weekend, and let you guys 
know If I found other problems.
ThanksJun
From: m...@philholmes.net
To: wj1...@hotmail.com; lilypond-user@gnu.org
Subject: Re: Vocal music sheet -  hyphens  wrongly engraved
Date: Thu, 11 Apr 2013 11:29:24 +0100








Jun,
 
There are a number of "challenges" with this song 
file.  It's these that produce the errors rather than versions of 
lilypond.  I thought it might be better to run through the errors and their 
fixes line by line - hopefully this will help you into the future.  I'll 
put my commented fixes in a different colour, and apologise to those who don't 
get on with HTML or top posting  Here's the logfile 
output:
 
GNU LilyPond 
2.16.0
Processing `D:/Music/NWC2Ly/Though Your Sins Be as 
Scarlet.ly'
Parsing...
D:/Music/NWC2Ly/Though Your Sins Be as 
Scarlet.ly:12:168: error: GUILE signaled an error for the expression beginning 
here
  title = \markup \fill-line { \line {} \line { Source: Pentecostal 
Hymns Nos. 1 and 2 Combined, by Henry Date (Chicago, Illinois: The Hope 
Publishing Company, 1894), 
#


 
427.} }
 
D:/Music/NWC2Ly/Though Your Sins Be as 
Scarlet.ly:12:167: error: not a markup
  title = \markup \fill-line { 
\line {} \line { Source: Pentecostal Hymns Nos. 1 and 2 Combined, by Henry Date 
(Chicago, Illinois: The Hope Publishing Company, 1894), 



   
# 427.} }
 
This is a problem with the 
information in your file - the comments include a #, which is a reserved 
character for lilypond.  I could add a feature to my converter to allow 
this, but the simplest fix is to change # to No.  However, I also use the 
comments for a different part of the lilypond output, so the optimum fix is to 
change the information completely, getting rid of this comment.  I've done 
this in the attached file.
 
D:/Music/NWC2Ly/Though Your Sins Be as 
Scarlet.ly:15:0: error: syntax error, unexpected \paper
 
\paper{
 
This is a consequence of the issue 
above, and is fixed as described above.
 
D:/Music/NWC2Ly/xSinsUnnamed-000Alyrics.ly:3:46: 
error: syntax error, unexpected '}'
 "1. \markup{ \concat{ \char ##x0093 
Though"} 

  
}  your sins be as scar -- let, 
 
This is a bug in my program - your 
quote marks are not ascii and so have to be encoded, and I've got that wrong 
when they're with other text.  The simplest fix is to use ordinary quote 
marks, and also to get rid of the stanza (verse) numbers and use the converter 
feature with automatic stanza numbers - these look much better.
 
D:/Music/NWC2Ly/xSinsUnnamed-000Alyrics.ly:13:2: 
error: syntax error, unexpected '}'
  
  
}
D:/Music/NWC2Ly/xSinsUnnamed-000Clyrics.ly:3:45: error: syntax error, 
unexpected '}'
 "3. \markup{ \concat{  He\char ##x0092 ll"} 

 
}  for -- give your trans -- gress -- ions, 
 
D:/Music/NWC2Ly/xSinsUnnamed-000Clyrics.ly:13:2: 
error: syntax error, unexpected '}'
  
  }
 
These are all the same 
issue.

D:/Music/NWC2Ly/xSinsThoughYourSins.ly:28:0: error: syntax error, 
unexpected >>
 
>>
 
D:/Music/NWC2Ly/xSinsThoughYourSins.ly:41:0: error: 
syntax error, unexpected '}'
 
}
 
D:/Music/NWC2Ly/Though Your Sins Be as 
Scarlet.ly:44:0: error: syntax error, unexpected '}'
 
}
 
C:/Program Files 
(x86)/LilyPondV2.16.0/usr/share/lilypond/current/ly/init.ly:111:66: error: 
syntax error, unexpected $end
   (ly:parser-error parser (_ 
"expected error, but none 
found"
  

 
Unbound variable: 427.}
fatal error: failed 
files: "D:\\Music\\NWC2Ly\\Though Your Sins Be as Scarlet.ly"
 
Program finished

These are caused by the rather 
strange music in bar 10.  The music uses Noteworthy's ability to put 
voicing onto a single staff line - this is quite hard to convert to lilypond 
(it 
requires my converter to use what's called implicit voicing) and with the 
triplets combined with the slurs and the voicing, my converter gets it 
wrong.  The _best_ way to fix this is to update the noteworthy input to use 
separate layered staves where separate voices are needed.  Where there 
aren't separate notes, we just have hidden rests.
 
I've done that as attached.  
There are some difficulties with the way the tie swaps from an upstem note to a 
downstem one in bar 10, so I've used a hidden note to accommodate it.  Once 
done, and rerunning the converter

polishing clef transpositions to perfection

[Janek Warchoł]

Hi,

the patch that corrects clef transposition positioning is 99% ready;
now it's only waiting until my rewrite of self-alignment-interface
will be accepted (that will unfortunately take some time, but some
features available after that rewrite are needed to position all clef
transpositions correctly).
http://code.google.com/p/lilypond/issues/detail?id=3186

I hope that you'll be satisfied with the results.

There's another small issue concerning clef transpositions: size of
the clef transposition should correspond to clef size
(http://code.google.com/p/lilypond/issues/detail?id=3310).  I'd love
to fix it, but i'm really busy (and i've already spent on the clef
transpositions much more time than i expected - aboout 6 hrs instead
of my original estimate of 1-2 hrs...), so i cannot afford working on
it, unless i get paid another small bounty (~$20 -  i expect there
will be more work involved here).  Is anyone interested?

cheers,
Janek

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Re: call for italian users: translation of "feathered beams" and other terms

[Davide Liessi]

2013/4/11 Ian Hulin :
> In English we use the Italian work portamento when singers or players
> want to scoop between notes.

We use that word in Italian, too, with the same meaning.

> Aren't "doit" and "fall" forms of portamento without a define
> start/end note?

Yes, they can be seen as forms of portamento without a defined end note.

2013/4/10 Federico Bruni :
>> > doit
>> > fall
> I think that it refers to "bending".

Yes, it can refer to string bending on guitars or similar instruments,
but I think it can also refer to singers or other instruments.

> We don't have a term in italian. Maybe:
> "piegatura della nota verso l'alto/basso (bending)"

"Piegatura" is the literal translation of "bending", but I don't think
that it has a musical meaning, and I can't remember anybody calling
"piegatura" the string bending technique: I always heard the English
term.

I wrote
>> maybe you could translate them
>> like they did in German: "glissando indeterminato verso l'alto/il
>> basso" or "... verso l'acuto/il grave".
but know I would propose
"portamento indeterminato verso l'alto/il basso" or "... verso
l'acuto/il grave".
The change from "glissando" to "portamento" should make the expression
rather self-explanatory and unambiguous: in "glissando indeterminato"
it is unclear if the indetermined note is the first, the last or both,
while in "portamento indeterminato" I think it is clear that the
indetermined note is the last.

Maybe you could keep a reference to bending in brackets, but I would
let it in the explanation of the term rather than in the entry name.

Best wishes,
Davide

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PercentRepeats not centered for more than two bars

[Peter Crighton]

I know there is already a bug report for this:
https://code.google.com/p/lilypond/issues/detail?id=3146
But I would like to know if there is any way to manually alter the
position of a PercentRepeat, or rather a DoublePercentRepeat.

Strange, though, that this example doesn’t produce a
DoublePercentRepeat at all, but only a slash repeat (which is
completely wrong), but in the project I’m working on the correct
DoublePercentRepeat is used, only at the beginning of the first bar
and not between bars two and three like it should. Don’t know why this
is. Anyway, for me the important part is how to center the
DoublePercentRepeat (as in a two-bar repeat).
Can anybody help?


\version "2.16.2"

{
  \repeat percent 2 {
c'1 d' e' f'
  }
  \repeat percent 2 {
g' a'
  }
}


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

[Trevor Daniels]

David Kastrup wrote Thursday, February 28, 2013 7:37 AM


> Daniel Rosen  writes:
> 
>>> -Original Message-
>>> From: Trevor Daniels [mailto:t.dani...@treda.co.uk]
>>> Sent: Wednesday, February 27, 2013 6:44 PM
>>> To: wjm; d...@gnu.org; Lilypond-User List
>>> Subject: Re: Footnotes to lyrics
>>> 
>>> 
>>> wjm wrote Wednesday, February 27, 2013 7:34 PM
>>> 
>>> > From the NR LilyPond version 2.17.13
>>> > +++
>>> > Known issues and warnings
>>> >
>>> > Footnotes cannot be attached to MultiMeasureRests or automatic beams
>>> > or lyrics.
>>> >
>>> 
>>> Yes; when I documented the footnote command I failed to find a way of
>>> adding a footnote to lyrics.  Hence this statement in the NR.
>>> 
>>> And I raised a bug report at the time:
>>> 
>>> http://code.google.com/p/lilypond/issues/detail?id=2819
>>
>> Can anyone recommend a workaround in the meantime?
> 
> The following actually works fine for me in 2.17.12:
> 
> \score {
>  { c'4 c' c' c' }
>  \addlyrics
>  { \footnote #'(-2 . -2) \markup "text"
>\markup Mu- sic is nice }
> }
>

But that produces the footnote symbol below and to the left of the
text, and joins it with a line.  Footnotes to lyrics are not written that
way.  The footnote symbol should appear as a superscript to the
right of the syllable with no joining line.  This can be done with 
markup, but it is messy.  Hence my bug report 2819 referenced
above.

(Sorry this comment is rather belated - I was clearing out some old
mail.)

Trevor
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Re: tie between voice & transpose a to g

[Tim Roberts]

MING TSANG  wrote:
>
> 2. Is it a lily pond feature that will transpose the whole score even
> there are two or more key signatures?

Yes.  Some of the common uses of \transpose are to allow one to write
the music in concert pitch, but print it out for a transposing
instrument, such as a clarinet in Bb, or to take a choral piece written
for one voice (soprano) and print it out for another voice (tenor).  You
generally want to keep the modulations the same as the original, so you
want all of the music transposed by the same amount.

I suspect you are thinking that "\transpose a g" means "take any music
in the key of A and convert it to the key of G".  That's not what it
means.  It means "transpose everything in the attached music down a
whole step."

However, \transpose only acts on the music that you pass it:  If you
only want to transpose one section, you can certainly do that.

organPart = {
\transpose a g { ... section 1... }
\transpose a f  { ... section 2... }
}

-- 
Tim Roberts, t...@probo.com
Providenza & Boekelheide, Inc.

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Re: musicxml2ly enhancements

[Urs Liska]

Am Mittwoch, den 10.04.2013, 12:28 +0200 schrieb Werner LEMBERG:
> >%{ 5 %} a,4 ( a4 ) ( b4 ) d4 |
> 
>  I like that.  It's tedious to type manually, but a computer
>  program doesn't know that word :-)
> >>>
> >>> Indeed, but i find it unreadable, especially if it was placed at
> >>> every line.
> 
> Really?  It's like having a BASIC program which always starts with a
> line number:
> 
>   %{  1 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  2 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  3 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  4 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  5 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  6 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  7 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  8 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{  9 %}  a,4 ( a4 ) ( b4 ) d4 |
>   %{ 10 %}  a,4 ( a4 ) ( b4 ) d4 |
> 
> As mentioned earlier, I don't like to type this, but having such a
> format returned by musicxml2ly is good IMHO.  After some time you get
> used to it, and line numbers are only looked at if you really need
> them.

You could define a snippet in Frescobaldi with
%{ $SELECTION %}| 
as its content (note the bar check and the empty space at the end) and
assign a shortcut.

With some more effort one could create a Python snippet that
- takes a single integer on a line
- places this comment around it and 
- right-aligns the number to three digits

If one then added for example an '@' after the opening comment one could
maybe talk Wilbert into making use of this for Frescobaldi's document
outline.

Urs


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Re: Question about left-aligning syllables at beginning of lines

[David Rogers]

Carl Peterson  writes:

> As I mentioned in another thread, I'm working on a hymnal/psalter project
> and ideally would like to justify both the left and right edges of each
> line of lyrics. I'm willing to settle for the left edge, if the right edge
> is too cumbersome to do. I manually right-justified the last syllables on
> one psalm, but hard right justification doesn't look good since it puts the
> right edge under the notehead. My concern with fractional right
> justification is that if it is proportional (setting the alignment to #0.5
> justifies halfway between center and right, relative to the width of the
> syllable), I'll still end up with a ragged line.

Carl - the syllables in the sample that you posted appear to all be
vowel-centered, not right-justified. Have you tried the "vowel-centered
lyrics" modification that some people are using? It works quite well for
me. The left-justified first syllable of the stanza would still be a
problem to solve, but maybe this will help with everything else.

Maybe I'm misunderstanding and your right-justified last syllables are
coming from a different source.

-- 
David

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Re: tie between voice & transpose a to g

[MING TSANG]

Tim Roberts,
Thank you for the info.  I always transpose a whole song that contains only a 
key signature.  The is the first time I transpose a song with two key 
signatures. Thank you for your info. 
Ming. 
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Re: call for italian users: translation of "feathered beams" and other terms

[David Rogers]

Davide Liessi  writes:


>> direct
> I can't understand this glossary entry, since there isn't enough context.
> I don't think it is specifically a musical term, and I couldn't find
> occurrences of "direct" in NR with a different meaning from the usual,
> literal, common one.
> Why is "direct" in the glossary? Why is it related to "custos"?

"Direct" (noun) is sometimes used as a synonym for "custos". If the common
usage in Italian is "custos", then I think the synonym is not necessary
except in case of awareness when translating from other languages.

-- 
David R

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Re: tie between voice & transpose a to g

[Thomas Morley]

2013/4/11 MING TSANG :
> (hope this time the email will not be rejected by lilypond-owner}
>
> Hi lily user:
>
> I have a hard time coding cross voice tie.  I end up of spliting the chord
> into two voices. Please refer to pdf and .ly files.
> 1. How can I code so that it will be the same as ~original.png


A workaround;


\version "2.16.2"

\relative c' {
\key a\major
\clef bass
<< {
   \voiceTwo
   \tieNeutral
   < a fis' >1~
   < a d fis>2
   }
   \\
   {
   \voiceFour
   \tieUp
   \once \override NoteColumn #'force-hshift = #1.2
   e'4 d2.~
   \tweak NoteColumn #'ignore-collision ##t
   \tweak #'X-extent #'(-0.1 . 0)
   \tweak #'transparent ##t
   \tweak Stem #'stencil ##f
   d2
   }
>>
   
}

Though, I really hope someone comes up with a better solution.

Cheers,
  Harm

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Re: tie between voice & transpose a to g

[MING TSANG]

Hi, Thomas:

Thank you for the work-a-round. It displays great - true to the original.  
Thank You.

Blessing,
Ming.



>
> From: Thomas Morley 
>To: MING TSANG  
>Cc: lilypond-usermailinglist  
>Sent: Thursday, April 11, 2013 7:52:41 PM
>Subject: Re: tie between voice & transpose a to g
> 
>
>2013/4/11 MING TSANG :
>> (hope this time the email will not be rejected by lilypond-owner}
>>
>> Hi lily user:
>>
>> I have a hard time coding cross voice tie.  I end up of spliting the chord
>> into two voices. Please refer to pdf and .ly files.
>> 1. How can I code so that it will be the same as ~original.png
>
>
>A workaround;
>
>
>\version "2.16.2"
>
>\relative c' {
>    \key a\major
>    \clef bass
>    << {
>           \voiceTwo
>           \tieNeutral
>           < a fis' >1~
>           < a d fis>2
>       }
>       \\
>       {
>              \voiceFour
>              \tieUp
>              \once \override NoteColumn #'force-hshift = #1.2
>                   e'4 d2.~
>           \tweak NoteColumn #'ignore-collision ##t
>           \tweak #'X-extent #'(-0.1 . 0)
>           \tweak #'transparent ##t
>           \tweak Stem #'stencil ##f
>           d2
>       }
>    >>
>        
>}
>
>Though, I really hope someone comes up with a better solution.
>
>Cheers,
>  Harm
>
>
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Collision of left hand fingerings when set fingeringOrientations to left

[Timothy Gu]

Hi,

I experience a collision of left hand fingering when using lilypond 2.16.2, 
with fingeringOrientations set to left, when the notes are consecutive.


How to reproduce:

\version "2.16.2"

#(define RF rightHandFinger)

config = {
  \set fingeringOrientations = #'(left)
  \set strokeFingerOrientations = #'(down)
}

\relative c'' \new Voice {
  \config \voiceOne
  b2\rest \mp < b-0-\RF #3 a-2-\RF #2 d,-0---\RF #1 >4 < c-1 g-0 f-3-- > |
}


What happened:
The 0 and 2 in the first chord and 0 and 3 in the second chord collide.


What I tried:
I tried to tweak the padding like this:

b2\rest \mp \override Fingering #'padding = #3 
< b-0-\RF #3 a-2-\RF #2 d,-0---\RF #1 >4 < c-1 g-0 f-3-- > |

But it doesn't work.

I also tried to put the padding inside the chord with \once, but it complains
that \override cannot be used inside a chord (error: syntax error, 
unexpected \override).

I would like to know how to resolve this, or if this is a Lilypond bug. 
Sorry for the long post.

Timothy G.


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Re: Collision of left hand fingerings when set fingeringOrientations to left

[Nick Payne]

On 12/04/13 13:18, Timothy Gu wrote:

\version "2.16.2"

#(define RF rightHandFinger)

config = {
   \set fingeringOrientations = #'(left)
   \set strokeFingerOrientations = #'(down)
}

\relative c'' \new Voice {
   \config \voiceOne
   b2\rest \mp < b-0-\RF #3 a-2-\RF #2 d,-0---\RF #1 >4 < c-1 g-0 f-3-- > |
}
This was fixed sometime in 2.17. If you download the current development 
version the fingerings won't collide...


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Re: Fingering not aligned in 2.17, ok in 2.16

[dra]

On Fri, 2013-03-22 at 15:06 +, Trevor Daniels wrote:
> Werner LEMBERG wrote Friday, March 22, 2013 1:31 PM
> > 
> >> See below. In 2.16.2, the fingering indications are vertically
> >> aligned.  In 2.17.14, they aren't.
> >> 
> >> \relative f'' {
> >>   \set fingeringOrientations = #'(left)
> >>   4
> >> }
> > 
> > Do you consider this a bug?  Actually, I like the new behaviour
> > better.  What does the literature say?
> 
> Gould says for guitar fingering:
> 
> "Place fingering right beside the note head, ideally in front of,
> or above, the note.  It may be placed within the stave, if
> necessary, as long as it is legible."

This is bad. Who is Gould? When there are two stem directions
in play, the number is best placed before or below, but
a number should NEVER be placed right after a note. A string
indication is usually better in front of the end of the stem.

<-|\/ all good; -> no good, and the source of many errors
in published works when the engraver made the number closer
to the note following the note intended.

Also, the fingering should flow. So should augmentation dots
when there is but a single voice. That means that dots in
spaces should be in the direction of the next note.
That rule seems to have been forgotten. Lilypond should
revive it. Eye flow is a very important consideration in
visual arts, and music engravers used to take it very
seriously. Shouldn't software too??
> 
> For piano fingering, she says:
> 
> "The general principle is to place fingering as close as possible
> to the relevant notes: directly above or below, in front or even
> after them.  Numerals should be clear of the stave unless
> absolutely necessary.  It is usual for right-hand fingering to go
> above the treble stave, left-hand fingering below the bass stave,
> keeping the middle of the system clear for dynamics.  However,
> fingering for inner parts is usually best placed at the stem ends
> so as to be close to these notes."
> 
> She says nothing about aligning fingering vertically, but in the
> examples of piano and guitar music the fingering _is_ all aligned 
> vertically, even for chords with some notes displaced and chords
> with accidentals before some notes.

She is more interested in making things easy for software
makers than making legible scores. 

There is no such thing as an authority on music notation,
especially that for guitar.

Regards, daveA


-- 
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: d.raleigh.arn...@gmail.com
Contact: http://www.openguitar.com/contact.html


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Re: tie between voice & transpose a to g

[Keith OHara]

> 2013/4/11 MING TSANG  rogers.com>:
> > I have a hard time coding cross voice tie.  
> > I end up of splitting the chord into two voices.
>
That is the way to think of the music in LilyPond's terms.  The tied note
is written with two notes, but is one sound and logically stays in one 
voice.  The voices have different rhythms for a while, but then the join
to form a single chord.

Thomas Morley  googlemail.com> writes:
> [...]
> Though, I really hope someone comes up with a better solution.
> 
That seems to work just fine.  What could be better? 

You can struggle a bit less if you leave out the \voiceTwo, etc.
These set all the styles that help us distinguish an upper from lower
voice, but in this example of (probably) piano music, we don't have
that distinction so we do not want the styles.  The tied note D exists
in only one of the two voices.

\version "2.16.2"
{ \clef bass
  << {
< a f' >1~
< a f'>2 }
  \new Voice {
\shiftOn
e'4 d'2.~
\once\override NoteColumn #'ignore-collision = ##t
d'2 
  } >>
  r2 }


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Re: Fingering not aligned in 2.17, ok in 2.16

[Nick Payne]

On 12/04/13 04:14, dra wrote:
There is no such thing as an authority on music notation, especially 
that for guitar. Regards, daveA 


Why do you set yourself up as one, then?

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Re: PercentRepeats not centered for more than two bars

[Keith OHara]

Peter Crighton  googlemail.com> writes:

> Anyway, for me the important part is how to center the
> DoublePercentRepeat (as in a two-bar repeat).
> 

\compressFullBarRests 
This collapses multi-measure rests into one measure for parts, 
and collapses measures with slash-repeats in a way that /might/ be useful.



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