RE: \path command

[Martin Tarenskeen]

On Thu, 26 Sep 2013, Curt McDowell wrote:


Here's something like that, but using \postscript instead of \path. I can't get \path at 
the right origin. It seems to ignore an initial "moveto".
Even \postscript seems to set the origin differently depending on which note 
the markup goes on (hence two versions of the markup below).
 

Cheers,

Curt

 

\version "2.13.51"

()


Hi,

Thank your for posting your \postscript example. 
But before I was able to view the result I had some trouble copying the 
lilypond code to a .ly file from my e-mail client (alpine). In the end I 
succeeded and was able to compile the example. But it would have saved me 
some trouble if the example was given as an attachment to the original 
message.


What is the recommended way to share LilyPond example code here in this 
mailinglist?


--

MT
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Re: How to connect Midi keyboard to Lilypond?

[Richard Shann]

On Fri, 2013-09-27 at 13:41 +0800, James Harkins wrote:
> On Sep 27, 2013 12:10 AM, "Richard Shann" 
> wrote:
> > Since introducing this I have had zero enharmonic misspellings in my
> > transcriptions. But this might not be suitable for some sorts of
> music,
> > I confess.
> 
> My music only seldom follows common practice tonality, 

The built-in support is for any range (e.g. E-flat to G-sharp, or D to
F-double-sharp), with the modulation controller on the MIDI keyboard
changing the range sharper or flatter. So if you wanted some assorted
collection of sharps and flats (E-flat with A-flat but F-sharp ...) you
would need a bit of scheme to convert the notes as they arrive, which is
quite do-able - there are examples of this sort of MIDI filter in
Denemo.

Richard



> so I'd have to doubt that Denemo would be any more effective for me
> than typing the code. But sure, what you're describing would easily
> beat Finale.
> 
> hjh
> 



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Re: How to connect Midi keyboard to Lilypond?

[Richard Shann]

On Thu, 2013-09-26 at 20:28 +0200, David Kastrup wrote:
> Richard Shann  writes:
> 
> > Denemo completely ignores the time-stamps on the midi input
> > stream. The midi events are serialized into a buffer by a separate
> > thread, and Denemo just picks them up in the order they appear in the
> > queue. If you want to generate a LilyPond chord you need to hold the
> > Alt key down or press the sustain pedal. And then, as with all other
> > rhythmic matters, you can play the chord as raggedly or as
> > simultaneously as you like.
> 
> Uh, that does not sound like it would make entry with the chord buttons
> fun.
Denemo has a command to fetch incoming MIDI events and filter them (with
a scheme script) - this would be too slow for fast music but is quite
usable for entering music at a sedate pace. There is a demo showing
creating chords over a baseline done by running such a MIDI filter
inside Denemo - in this case I just played the base note and the
chord(s) and the scheme script sorted out everything else. (See
https://vimeo.com/62426412 where you can hear the delays as the -
interpreted - scheme sorts out what duration to assign to the chords)

Richard



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Re: How to connect Midi keyboard to Lilypond?

[Richard Shann]

On Fri, 2013-09-27 at 09:04 +0100, Richard Shann wrote:
> So if you wanted some assorted
> collection of sharps and flats (E-flat with A-flat but F-sharp ...) 
whoops! it would have to be weirder than that, say D-Sharp with
A-flat ...
Richard



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How to modify a syllable, if "~" (or "_") is involved?

[Thomas Morley]

Hi,

is there any possibility to modify one syllable of LyricText if the
syllables are connected with "~"?

In this example the \markup disturbs "~".
(Same for "_")

\version "2.17.26"

\new Lyrics \lyricmode {
foo~bar
\markup { \italic foo }~bar
}

Thoughts?


Thanks,
  Harm

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Re: How to modify a syllable, if "~" (or "_") is involved?

[Jan-Peter Voigt]

Hi Harm,

this seems to be tricky, because the corresponding engraver seems to 
look for strings containig '~'. So a markup would have to be split ... a 
custom engraver might do it ...
If the syllable is not a string, but a markup containing a string, 
containing "~", then put the right stencil in there.


Just a thought ...

Best, Jan-Peter

Am 27.09.2013 10:15, schrieb Thomas Morley:

is there any possibility to modify one syllable of LyricText if the
syllables are connected with "~"?

In this example the \markup disturbs "~".
(Same for "_")

\version "2.17.26"

\new Lyrics \lyricmode {
 foo~bar
 \markup { \italic foo }~bar
}

Thoughts?



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Re: variables tied with slurs

[Peter Bjuhr]

On 09/27/2013 07:05 AM, Urs Liska wrote:

Does

A = \drums { sn8 sn8~ }

{ \A \A }

Do what you want?


I was curious of this, but Urs is right it does work. There are no 
obstacles in ending with a tie. Apparently it is just ignored:


\version "2.17.26"

% How could I write the equivalent of
\drums { sn8 sn8 ~ sn8 sn8 }
%using variables?

% This does work!
A = \drummode { sn8 sn8 ~ }

\score {
\new DrumStaff
 { \A \A }
}

%end with a tie
{ b'4 a' g' b' ~ }

Best
Peter


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Re: How to connect Midi keyboard to Lilypond?

[pls]

On 27.09.2013, at 08:27, Johan Vromans  wrote:

> Laura Conrad  writes:
> 
>> I use , which I think has
>> been mentioned elsewhere in the thread.  
> 
> As being a 404?
http://utopia.knoware.nl/~hlub/uck/rlwrap/#midi_input
> 
> -- Johan
> 
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Re: How to connect Midi keyboard to Lilypond?

[James Harkins]

On Friday, September 27, 2013 4:04:36 PM HKT, Richard Shann wrote:
My music only seldom follows common practice tonality, 


The built-in support is for any range (e.g. E-flat to G-sharp, or D to
F-double-sharp), with the modulation controller on the MIDI keyboard
changing the range sharper or flatter. So if you wanted some assorted
collection of sharps and flats (E-flat with A-flat but F-sharp ...) you
would need a bit of scheme to convert the notes as they arrive, which is
quite do-able - there are examples of this sort of MIDI filter in
Denemo.


Sure, that may be of interest to the other people on the thread who *are* 
looking for MIDI input. For myself, I prefer working with the code directly, 
and I will likely continue to prefer the code even if there's the option of 
super-amazingly-accurate MIDI input.

That's the great thing about LP's more open design. In Finale, basically your 
only choices are speedy note entry (meaningless without a MIDI keyboard, and 
really poor handling of enharmonics) or simple note entry (mouse only, and I 
sincerely hope I'm never forced to do it that way for any length of time). In 
LP, I can do it by code if I like (and I do), AND user-developers like you can 
devise alternate input methods.

hjh

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Re[surrecting]: Version Control and Public Repository

[Alexander Kobel]

Dear all,

long time ago there was this thread about version controlling Lily 
scores, and much more recently Urs' excellent essay and tutorial on the 
LilyPond blog [1].


Now, that surely is a great read, but I'm left with one question. Over 
time, I've collected a few scores, made with different LilyPond 
versions, which I want to put into a VCS repo now and clean up a bit. At 
some (early) point though, I started to use include files for common 
tweaks and shortcuts.
So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version 
my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong 
to maintain my-tweaks-* in different files, because it really is a 
development from 0.1; also, it means copy-pasting to a new file whenever 
a nice add-on should be available for new scores. "Where's my most 
recent house style?"
On the other hand, some tweaks introduced in newer versions of the 
include do not work well together with local tweaks of scoreA; hence, I 
want to at least refer to which version of my-tweaks-?.ly I used there 
last time I touched the piece. (E.g., I have scores which predate Joe's 
tremendous improvements to vertical spacing; it's obvious that I have to 
rewrite all spacing code if I convert them to today's Lily, but I need 
the old state of tweaks for everything else.)


I'm pretty sure that's a common problem for repos containing several 
separate projects, unlike source code for a single library or 
application which needs to be updated entirely in one shot when 
dependencies change. So, most probably there's a `proper` way to deal 
with the problem. But, which? Any suggestions?


The only possibility I see to keep the different versions (in git) 
somewhat cleanly separated is to use a house-style branch for the 
includes, and use one branch per project (a.k.a. score). If necessary, 
merge the recent modifications from house-style to project. This sounds 
clean, but also like overkill - after all, I usually write 2-4 
pages-scores (max was around 20 pages, I think), not operas.
On the other hand, I preferably don't want to check every time I modify 
an include whether the change has negative impact on any of my score, 
but I also don't want to be stuck with some broken old project for a 
little modification. (Like, extract choir parts from the piano 
reduction--which typically happens ~1 hour before the rehearsal...)



Thanks in advance,
Alexander


[1] http://lilypondblog.org/2013/09/write-lilypond-code-for-version-control/

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Re: How to modify a syllable, if "~" (or "_") is involved?

[Thomas Morley]

2013/9/27 Jan-Peter Voigt :
> Hi Harm,
>
> this seems to be tricky, because the corresponding engraver seems to look
> for strings containig '~'. So a markup would have to be split ... a custom
> engraver might do it ...
> If the syllable is not a string, but a markup containing a string,
> containing "~", then put the right stencil in there.

Hi jan-Peter,

I was afraid it might result in programming a custom-engraver.
Though I really hoped I overlooked something simple.

One problem with an engraver is, that I don't know how this little tie
is created/printed.
Will investigate further.

> Just a thought ...

Thanks for it.

> Best, Jan-Peter
>
> Am 27.09.2013 10:15, schrieb Thomas Morley:
>
>> is there any possibility to modify one syllable of LyricText if the
>> syllables are connected with "~"?
>>
>> In this example the \markup disturbs "~".
>> (Same for "_")
>>
>> \version "2.17.26"
>>
>> \new Lyrics \lyricmode {
>>  foo~bar
>>  \markup { \italic foo }~bar
>> }
>>
>> Thoughts?


Best,
  Harm

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Re: How to connect Midi keyboard to Lilypond?

[David Kastrup]

James Harkins  writes:

> On Friday, September 27, 2013 4:04:36 PM HKT, Richard Shann wrote:
>>> My music only seldom follows common practice tonality, 
>>
>> The built-in support is for any range (e.g. E-flat to G-sharp, or D to
>> F-double-sharp), with the modulation controller on the MIDI keyboard
>> changing the range sharper or flatter. So if you wanted some assorted
>> collection of sharps and flats (E-flat with A-flat but F-sharp ...) you
>> would need a bit of scheme to convert the notes as they arrive, which is
>> quite do-able - there are examples of this sort of MIDI filter in
>> Denemo.
>
> Sure, that may be of interest to the other people on the thread who
> *are* looking for MIDI input. For myself, I prefer working with the
> code directly, and I will likely continue to prefer the code even if
> there's the option of super-amazingly-accurate MIDI input.

I would think that it could save time typing in existing scores, in
particular stuff you are used to playing.  It does not preclude you from
working with the code directly afterwards.

> That's the great thing about LP's more open design.

It's not really that it's more open but rather that parts of it are more
direct.

If you take a look at the philosophies behind string instruments,
several flavors have survived:

We have bowed instruments.  They have converged to unfretted instruments
with few courses (mostly four), the focus being on their "cash register"
or "money notes", namely excellent and continuous control over
articulation, pitch and volume in monophonic settings.

Handplucked instruments tend to be fretted and equipped with somewhat
more courses, the frets required for better sustenance and sound quality
of principally decaying notes, and simplifying polyphonic play.

With keyboard string instruments, quill-plucked instruments are mostly
dead, and so are stopped keyboard instruments (like the fretted
clavichord).  The dominant survivor is the hammered-action pianoforte
which offers reasonably uncomplicated polyphony and per-note control of
the initial dynamic.

So even if there are common ancestors like the hurdy gurdy,
specialization on particular strengths has lead the instrument families
apart into different specimens.

In a similar vein, GUI tool philosophies and type entry methods have
diverged to a degree where there are some workflows that you don't
_want_ to be doing with a particular tool.

A tool like Denemo does not have what I would call a "closed" design,
but it has a different philosophy.

-- 
David Kastrup


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Re: How to modify a syllable, if "~" (or "_") is involved?

[David Kastrup]

Thomas Morley  writes:

> 2013/9/27 Jan-Peter Voigt :
>> Hi Harm,
>>
>> this seems to be tricky, because the corresponding engraver seems to look
>> for strings containig '~'. So a markup would have to be split ... a custom
>> engraver might do it ...
>> If the syllable is not a string, but a markup containing a string,
>> containing "~", then put the right stencil in there.
>
> Hi jan-Peter,
>
> I was afraid it might result in programming a custom-engraver.
> Though I really hoped I overlooked something simple.
>
> One problem with an engraver is, that I don't know how this little tie
> is created/printed.
> Will investigate further.

Check the definition of \tied-lyrics in scm/define-markup-commands.scm.

-- 
David Kastrup


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Re: Re[surrecting]: Version Control and Public Repository

[Phil Holmes]

- Original Message - 
From: "Alexander Kobel" 

To: "Urs Liska" 
Cc: 
Sent: Friday, September 27, 2013 10:11 AM
Subject: Re[surrecting]: Version Control and Public Repository



Dear all,

long time ago there was this thread about version controlling Lily scores, 
and much more recently Urs' excellent essay and tutorial on the LilyPond 
blog [1].


Now, that surely is a great read, but I'm left with one question. Over 
time, I've collected a few scores, made with different LilyPond versions, 
which I want to put into a VCS repo now and clean up a bit. At some 
(early) point though, I started to use include files for common tweaks and 
shortcuts.
So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version 
my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong to 
maintain my-tweaks-* in different files, because it really is a 
development from 0.1; also, it means copy-pasting to a new file whenever a 
nice add-on should be available for new scores. "Where's my most recent 
house style?"



If you have scoreA.ly and this includes my-tweak.ily and you create a commit 
in the git repo for this music, no matter how often you then alter my-tweak, 
you could always return to the commit for this music, and my-tweak will 
always be at the appropriate version.  That how version control works.


--
Phil Holmes 



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Re: Re[surrecting]: Version Control and Public Repository

[Urs Liska]

Hi Alexander,

of course I'm interested in this topic ;-) but I have a concert tonight 
(anybody in/near Gelsenkirchen?) So I don't know if I can answer in detail 
today ...

Best
Urs



Alexander Kobel  schrieb:
>Dear all,
>
>long time ago there was this thread about version controlling Lily 
>scores, and much more recently Urs' excellent essay and tutorial on the
>
>LilyPond blog [1].
>
>Now, that surely is a great read, but I'm left with one question. Over 
>time, I've collected a few scores, made with different LilyPond 
>versions, which I want to put into a VCS repo now and clean up a bit.
>At 
>some (early) point though, I started to use include files for common 
>tweaks and shortcuts.
>So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version 
>my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong 
>to maintain my-tweaks-* in different files, because it really is a 
>development from 0.1; also, it means copy-pasting to a new file
>whenever 
>a nice add-on should be available for new scores. "Where's my most 
>recent house style?"
>On the other hand, some tweaks introduced in newer versions of the 
>include do not work well together with local tweaks of scoreA; hence, I
>
>want to at least refer to which version of my-tweaks-?.ly I used there 
>last time I touched the piece. (E.g., I have scores which predate Joe's
>
>tremendous improvements to vertical spacing; it's obvious that I have
>to 
>rewrite all spacing code if I convert them to today's Lily, but I need 
>the old state of tweaks for everything else.)
>
>I'm pretty sure that's a common problem for repos containing several 
>separate projects, unlike source code for a single library or 
>application which needs to be updated entirely in one shot when 
>dependencies change. So, most probably there's a `proper` way to deal 
>with the problem. But, which? Any suggestions?
>
>The only possibility I see to keep the different versions (in git) 
>somewhat cleanly separated is to use a house-style branch for the 
>includes, and use one branch per project (a.k.a. score). If necessary, 
>merge the recent modifications from house-style to project. This sounds
>
>clean, but also like overkill - after all, I usually write 2-4 
>pages-scores (max was around 20 pages, I think), not operas.
>On the other hand, I preferably don't want to check every time I modify
>
>an include whether the change has negative impact on any of my score, 
>but I also don't want to be stuck with some broken old project for a 
>little modification. (Like, extract choir parts from the piano 
>reduction--which typically happens ~1 hour before the rehearsal...)
>
>
>Thanks in advance,
>Alexander
>
>
>[1]
>http://lilypondblog.org/2013/09/write-lilypond-code-for-version-control/
>
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installation denemo in window.

[MING TSANG]

Lilyponders:
On the download page it said it includes lilypond.  I already have lilypond 
v2.16.2 and v2.17.26 installed on my desktop computer.  Will the installation 
clobber my existing lilypond? What version of lilypond that denemo installer 
include? I want to try out denemo, but am afraid to install because the 
following windows notes from denemo.org download page.
Emanuel,
Ming
  
Windows notes:
* This installer includes LilyPond and everything you need to create, 
print and playback. It is about 50MB in size. You can install a more up-to-date 
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Re: Acciaccaturas and slashed stems

[David Kastrup]

Gilberto Agostinho  writes:

> Hello Peter,
>
> I am sorry for my late reply, I have been away for the past days.
>
> About Frescobaldi, though I am very thankful for you to have implemented the
> automatic beams for the grace notes, I have to say I am not very fond of the
> idea of installing still two other files before (maybe) being able to
> install the newest development version of Frescobaldi.
>
> Do you think this option will be on the next stable release of Frescobaldi,
> as an .EXE file? If so, I think I will wait for it.
>
> In my opinion, the grace note issue was simply about making LilyPond as
> convenient and as close to what I believe is the musical convention as
> possible, but in the end I really don't want to go through all sorts of
> troubles just to be able to maybe skip a [ and a ] for each grace note
> group. My original comment here was more a recommendation to improve
> something on LilyPond, and not exactly a big problem of mine.

I've committed a patch implementing grace autobeaming to
http://code.google.com/p/lilypond/issues/detail?id=3566>

This patch does not contain a regression test, and I debugged an
eternity to figure out why a single rest would not be enough to stop a
beam group from being formed.  I finally got smart and compared to the
normal autobeamer results, and, well, it's not sufficient to break off
beaming there either, so the behavior is consistent.

Now this issue is missing a regression test.  This thread contained
several scans and examples (also of not-beamed-through grace figures),
and you'll probably have your own ones.  Could you put together a few
measures exhibiting several of those cases for use in a regression test?

If you don't have the means of applying a patch and recompiling, just
write the stuff up in the way that you imagine it should look with a
working grace autobeamer.

That's the kind of diligence work I'm not particularly good at, so it
would be nice if you pitched in here.

Thanks

-- 
David Kastrup

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Re: programming error

[MING TSANG]

Hi, Eluze:

Yes, it probably doesn't 5o+ measure to show the problem, but I don't know when 
and where the "programming error" suddenly appears. The compile run seems 
producing .pdf ok. 

I will follow you suggestion and try identify when and where that error first 
appears.

Emanuel,
Ming



 


   1. Re:programming error (Eluze)
  

--

Message: 1
Date: Thu, 26 Sep 2013 05:19:37 -0700 (PDT)
From: Eluze 
To: lilypond-user@gnu.org
Subject: Re: programming error
Message-ID: <1380197977381-151395.p...@n5.nabble.com>
Content-Type: text/plain; charset=UTF-8

MING TSANG wrote
> Sorry, I attached a .ly file with \include private files. ?I remove those
> and the following can compile. ?

great - it's compiling mow!

but I wouldn't say this is minimal - the next step now is to reduce your
code to get near the offending code.

but - which of the 2 problems do you want to solve first?

I suggest to attack the lyrics problem:

for this you should comment *all* the verses and re-include them one by one
- this will quickly show in which verse the warning occurs! and it's even
easier if you get rid of all the other stuff which isn't directly involved:

instrumentName,  shortInstrumentName, midiInstrument, Dynamics etc.

also: do you need over 50 measures to show the problem?

hth
Eluze



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Re: Acciaccaturas and slashed stems

[Gilberto Agostinho]

Hi David,

First of all, thank you so much for doing this, I really appreciate it.
Unfortunately I do not know how to apply the patch, but I created a small
LilyPond code that could be used as a regression test:

\version "2.17.26"
{
  \relative c'' {
\grace {a8 b } a1
\grace {a8 b c b gis } a1
\grace {a8 b c32 b c16 gis } a1
\grace {a8 b c16 d c4 b8 gis } a1
\grace {a8 b c16 d c4 b8 a b\fermata a16 gis } a1
  }
}
{
  \relative c'' {
\grace {a8[ b] } a1 
\grace {a8[ b c b gis] } a1 
\grace {a8[ b c32 b c16 gis] } a1
\grace {a8[ b c16 d] c4 b8[ gis] } a1
\grace {a8[ b c16 d] c4 b8 a b\fermata a16[ gis] } a1
  }
}

On the top, you will see the graces behaving as they currently do
(unbeamed). On the bottom you have the beamed ones. Please note that on the
5th example the last three eighth notes are supposed to be unbeamed, but I
do not know how this will work after your patch (maybe it will need some
command to break the automatic grace beaming).

The logic behind my little examples above is to show:
No. 1: simple beaming between 2 notes (simplest example)
No. 2: simple beaming between more than 2 notes
No. 3: beaming between notes of different values (but all shorter than a
quarter note and thus having a flag that can be beamed)
No. 4: beaming between notes of different values with a quarter note
included in between (to show that the auto beam will still work properly)
No. 5: a more complex example, where some notes are supposed to be unbeamed
and some beamed.

Please let me know if this is of any use.

Thanks a lot and take care!
Gilberto



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Re: How to connect Midi keyboard to Lilypond?

[Richard Shann]

On Fri, 2013-09-27 at 11:38 +0200, David Kastrup wrote:
> > Sure, that may be of interest to the other people on the thread who
> > *are* looking for MIDI input. For myself, I prefer working with the
> > code directly, and I will likely continue to prefer the code even if
> > there's the option of super-amazingly-accurate MIDI input.
> 
> I would think that it could save time typing in existing scores, in
> particular stuff you are used to playing.  It does not preclude you
> from
> working with the code directly afterwards. 

Indeed if you put

(while (d-MoveCursorRight)
 (format #t "~A " (d-GetLilyPond)))

into Denemo's scheme command line interpreter  you will get the LilyPond
code for all the music from the current staff from after the cursor
splurged out on the terminal. I had better put that into a command
piping the output to a file for those who would wish for the raw
LilyPond music for inclusion in a hand-written template system.

Richard





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Re: installation denemo in window.

[Richard Shann]

On Fri, 2013-09-27 at 04:20 -0700, MING TSANG wrote:
> Lilyponders:

This email would be better sent to the Denemo mailing list

> On the download page it said it includes lilypond.  I already have
> lilypond v2.16.2 and v2.17.26 installed on my desktop computer.  Will
> the installation clobber my existing lilypond?

No, it is entirely internal to the denemo installation.

>  What version of lilypond that denemo installer include?

2.16, but you can point Denemo to another version.

Richard

>  I want to try out denemo, but am afraid to install because the
> following windows notes from denemo.org download page.
> Emanuel,
> Ming
>   
> Windows notes:
>   * This installer includes LilyPond and everything you need to
> create, print and playback. It is about 50MB in size. You can
> install a more up-to-date LilyPond version, setting Denemo to
> use that via the Change Preferences item.
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Re: How to modify a syllable, if "~" (or "_") is involved?

[Jan-Peter Voigt]

Am 27.09.2013 11:42, schrieb David Kastrup:

Check the definition of \tied-lyrics in scm/define-markup-commands.scm

... so its easy ...

\markup { \italic \tied-lyric #"foo~" bar }

and the documentation doesn't need improvement (IMO) 
http://www.lilypond.org/doc/v2.16/Documentation/notation/music

... but sometimes I wonder, if there is a way to improve searching the docs.
But still, one has to ask the right question and then he could find the 
answer by himself ... markup -> music -> tied-lyric


Best, Jan-Peter


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Re: barré fret diagram guitar

[Carl Sorensen]

On 9/24/13 12:57 AM, "bart deruyter"  wrote:

>Now the fretboard diagrams have to be mixed into the score, which really
>is not nice. It's harder to read the lilypond file, and I have to dig
>into the score code to get a version without diagrams instead of just
>modifying the score part.
>

The terse diagram syntax won't work for this case, because we can't say
where to 
start a barre if the string is muted (we can't infer the fret from the x,
although we 
could from the barre-end on string 1; but the code doesn't do look ahead).

The solution is to use the verbose fret diagram syntax:

\addChordShape #'bes:m/f #guitar-tuning
#'((mute 6) (mute 5) (place-fret 4 3 3) (place-fret 3 3 4)
(place-fret 2 2 2) (barre 5 1 1))

You can read about the verbose fret diagram syntax in the Notation
Reference.  
While it is more complex to read and write than the terse syntax, it is
much more 
versatile (e.g. you can have more than one dot per string).

We probably should add an example to Predefined Fret Diagrams that shows a
verbose diagram; the text says it can be done, but there is no example.

Bart, could you make a tiny example and post it to bug, so we can get an
issue 
raised?

Thanks,

Carl



>


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Re: Re[surrecting]: Version Control and Public Repository

[Alec Bartsch]

On Sep 27, 2013, at 3:50 AM, Phil Holmes  wrote:

> If you have scoreA.ly and this includes my-tweak.ily and you create a commit 
> in the git repo for this music, no matter how often you then alter my-tweak, 
> you could always return to the commit for this music, and my-tweak will 
> always be at the appropriate version.  That how version control works.

So in git, would that commit be best expressed as a tag rather than a branch? 
I'm still learning my way around git terminology. (We use perforce at work.)

Thanks,

Alec


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Re: Acciaccaturas and slashed stems

[Gilberto Agostinho]

Hi David,

I think your solution is absolutely great: if the graces are simple enough,
then they are all beamed. This will solve 99% of the problems. If one needs
something fancier, then she or he should manually write all beams.

Thank you once again for all your help.

Take care,
Gilberto



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Re: Violin tab for fiddle tunes

[R.D. Latimer]

I've put together a sample fiddle tune with music notation, sample fiddle
tab (using finger number), guitar tab (using fret number), and guitar capo
2 tab (using fret number based on capo).

Let me know if anyone would like me to post.



On Thu, Sep 26, 2013 at 8:39 AM, R.D. Latimer  wrote:

> I'd like help getting started with transcribing fiddle tunes with music
> and tab.
>
> Here's my initial try (first two measures)
> The fingering for the violin is not correct in the tab. Fingering should
> be:
> 2 0 0  2 0 0 | 3 1 1  3 0 1 |
>
> I'll attach a jpeg image.  Thanks for any help.
>
> Here's my source code so far:
>
> \version "2.16.2"
> \header {
>   title = "Old John's Jig"
>   composer = "trad"
> }
>
> \new StaffGroup <<
>   \new Staff \relative c'' {
>   \clef "treble"
>   \key g \major
>   \time 6/8
> c8 a a c a a   g e e g a b
> }
>\new TabStaff \with {
>   stringTunings = #violin-tuning
>   }
>   {
>   \relative c'' {
> c8 a a c a a   g e e g a b
> }
> }
> >>
>
>
>
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Lilypond-Book not compiling LaTeX

[Marcos Press]

Hi!

Finaly I decide to learn LaTeX, and integrateit with Lilypond.

I've been writting in LaTeX with the usuall learning curbe problems. And
finaly arrive to the moment of putting some music within the text.
So I type many diferent trys, and nothing works. Always the same output.
So I decide to try with a Lilypond example from the web.
I use the one that can be find here:
http://www.lilypond.org/doc/v2.16/Documentation/usage/lilypond_002dbook-templates.html
#
\documentclass[]{article}

\begin{document}

Normal LaTeX text.

\begin{lilypond}
\relative c'' {
  a4 b c d
}
\end{lilypond}

More LaTeX text, and options in square brackets.

\begin{lilypond}[fragment,relative=2,quote,staffsize=26,verbatim]
d4 c b a
\end{lilypond}
\end{document
#

Then, the command and exit status:
#
lilypond-book -f latex --output out podemos.tex

lilypond-book (GNU LilyPond) 2.16.0
Leyendo podemos.tex...
Ejecutando «latex» sobre el archivo «/tmp/tmp8NiLBQ.tex» para detectar los
ajustes de página predeterminados.

Diseccionando...
Traceback (most recent call last):
  File "/usr/bin/lilypond-book", line 766, in 
main ()
  File "/usr/bin/lilypond-book", line 749, in main
chunks = do_file (files[0])
  File "/usr/bin/lilypond-book", line 610, in do_file
do_process_cmd (chunks, input_fullname, global_options)
  File "/usr/bin/lilypond-book", line 470, in do_process_cmd
output_files = split_output_files (options.lily_output_dir)
  File "/usr/bin/lilypond-book", line 460, in split_output_files
for subdir in glob.glob (os.path.join (directory, '[a-f0-9][a-f0-9]')):
  File "/usr/lib/python2.7/glob.py", line 27, in glob
return list(iglob(pathname))
  File "/usr/lib/python2.7/glob.py", line 58, in iglob
for dirname in dirs:
  File "/usr/lib/python2.7/glob.py", line 58, in iglob
for dirname in dirs:
  File "/usr/lib/python2.7/glob.py", line 59, in iglob
for name in glob_in_dir(dirname, basename):
  File "/usr/lib/python2.7/glob.py", line 78, in glob1
return fnmatch.filter(names, pattern)
  File "/usr/lib/python2.7/fnmatch.py", line 54, in filter
_cache[pat] = re.compile(res)
  File "/usr/lib/python2.7/re.py", line 190, in compile
return _compile(pattern, flags)
  File "/usr/lib/python2.7/re.py", line 242, in _compile
raise error, v # invalid expression
sre_constants.error: bad character range
###

It doesn't matter what I write in the file. The result is always the same.

Any help will be apreciated :)!

Marcos.
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Re: Lilypond-Book not compiling LaTeX

[flup2]

Hello,

In your example, there is a missing accolade at the end: \end{document in
place of \end{document}

If I add it, it compiles without problem.



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Re: Midi equalisation

[Hilary Snaden]

On 2013-09-15 14:45, Janek Warchoł wrote:
> Hi,
> 
> 2013/9/10 David Kastrup :
>> Hilary Snaden  writes:
>>
>>> This (trimmed) example doesn't work as the documentation suggests it
>>> should, in this case to reduce the volume of the organ relative to the
>>> voices. Changing the volume values makes no difference at all. \dyns
>>> contains dynamics for the organ, each voice part has its own dynamics.
>>> Am I missing something?
>>> [...]
>> An actual dynamic?  I think the min/max values only take to flight when
>> specifying a dynamic.
> 
> This should be fixed in 2.17.15 release (i.e. explicit dynamic should
> no longer be necessary). See
> http://code.google.com/p/lilypond/issues/detail?id=3234
> 
> Hilary, which LilyPond version have you been using?  Please try current
> development version and tell us if it works for you.

I use 2.16.2. I'm uncertain about making multiple installations of
LilyPond and rather wary of breaking a nice working installation.

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Re: convert-ly on Mac?

[Graham King]

On OSX /Applications/Lilypond.app looks like a single file.  However, if
you right-click on it in the Finder, and select "Show package contents",
you'll find convert-ly (and a lot else) inside.

To do this, you'll first need to have enabled right-click.  To do so on
a Macbook, go to System Preferences, Trackpad, and enable "Secondary
click".

On Wed, 2013-09-25 at 00:58 +, Steve Noland wrote:

> Is the convert-ly utility available with the MacIntosh installation?  If not, 
> how would I install it on a Mac?
> 
> Thanks.
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overlapping contexts and consequences

[Kieren MacMillan]

Hello all,

In my choral scores, I often want centered dynamics and centered lyrics, e.g.,

  \new ChoirStaff <<
\new Staff = "SA" \lady_music
\new Dynamics \choir_dynamics
\new Lyrics \choir_lyrics
\new Staff = "TB" \man_music
  >>

1. When the dynamics and lyrics *don't* occupy the same moment (i.e., 
horizontal placement), I would like the lyrics and dynamics to be "squashed" 
onto the same vertical axis.

2. When the dynamics and lyrics *do* occupy the same moment, and there is 
opportunity for the dynamic to slide left or right (e.g., at the beginning of a 
system), I would like that to happen (i.e., *rather* than the dynamic sliding 
up or down).

3. When the dynamics and lyrics *do* occupy the same moment, and there is no 
[reasonable] opportunity for the dynamic to slide left or right (e.g., in the 
middle of a measure), I would like to set a #'direction parameter which would 
determine which way (UP or DOWN) the dynamic would slide to avoid collision.

What is the best way to achieve any or all of these results "automagically"?

I assume it will involve modifying the extra-spacing-height and/or -width of 
both the Lyrics (or LyricText) and Dynamics (or DynamicText or 
DynamicLineSpanner) contexts, but I'm hoping it's no more than that (i.e., that 
it won't require a whole bunch of new programming or complex custom engravers).

Thanks,
Kieren.
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staff-specific markup?

[Graham King]

I'm trying to engrave a vocal score in which the majority of markups are
common to all parts.  Lilypond helpfully engraves these just once, above
the top part, as expected.
However, there are some rare \mark \markup items that I want to appear
above only one of the inner staves.  Is there a way to achieve this
without having to remove all the common markups from all but the top
part?
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Re: Re[surrecting]: Version Control and Public Repository

[Phil Holmes]

- Original Message - 
From: "Alec Bartsch" 

To: "Phil Holmes" 
Cc: "Alexander Kobel" ; "Urs Liska" ; 


Sent: Friday, September 27, 2013 5:20 PM
Subject: Re: Re[surrecting]: Version Control and Public Repository



On Sep 27, 2013, at 3:50 AM, Phil Holmes  wrote:

> If you have scoreA.ly and this includes my-tweak.ily and you create a 
> commit in the git repo for this music, no matter how often you then 
> alter my-tweak, you could always return to the commit for this music, 
> and my-tweak will always be at the appropriate version.  That how 
> version control works.


So in git, would that commit be best expressed as a tag rather than a 
branch? I'm still learning my way around git terminology. (We use perforce 
at work.)



Thanks,



Alec


Well, others here will tell you I'm no expert.  However, the normal way of 
doing this would be that each time you make a specific change, then you 
commit this with a git commit:


git commit -am 'my change information'

This will return you a commitish, which is the key of that change.  You can 
then always revert to that state with:


git checkout that_commitish.

Tools like gitk or the web representation of the git state can help you find 
the commitish if you don't know it.  Alternatively, if it's soemthing you 
really think you will need to return to, a tag will serve the same purpose.


--
Phil Holmes 



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Re: Midi equalisation

[Phil Holmes]

- Original Message - 
From: "Hilary Snaden" 

To: "LilyPond Users" 
Sent: Friday, September 27, 2013 8:07 PM
Subject: Re: Midi equalisation



On 2013-09-15 14:45, Janek Warchoł wrote:

Hi,

2013/9/10 David Kastrup :

Hilary Snaden  writes:


This (trimmed) example doesn't work as the documentation suggests it
should, in this case to reduce the volume of the organ relative to the
voices. Changing the volume values makes no difference at all. \dyns
contains dynamics for the organ, each voice part has its own dynamics.
Am I missing something?
[...]

An actual dynamic?  I think the min/max values only take to flight when
specifying a dynamic.


This should be fixed in 2.17.15 release (i.e. explicit dynamic should
no longer be necessary). See
http://code.google.com/p/lilypond/issues/detail?id=3234

Hilary, which LilyPond version have you been using?  Please try current
development version and tell us if it works for you.


I use 2.16.2. I'm uncertain about making multiple installations of
LilyPond and rather wary of breaking a nice working installation.



We warn people not to trust development versions fully, but I think you'd 
have no problem with latest devel.  Which OS do you use?


--
Phil Holmes 



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Re: staff-specific markup?

[Phil Holmes]

use \markup instead of \mark \markup?

--
Phil Holmes


  - Original Message - 
  From: Graham King 
  To: lilypond-user@gnu.org 
  Sent: Friday, September 27, 2013 8:28 PM
  Subject: staff-specific markup?


  I'm trying to engrave a vocal score in which the majority of markups are 
common to all parts.  Lilypond helpfully engraves these just once, above the 
top part, as expected.
  However, there are some rare \mark \markup items that I want to appear above 
only one of the inner staves.  Is there a way to achieve this without having to 
remove all the common markups from all but the top part? 


--


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Re: staff-specific markup?

[David Kastrup]

"Phil Holmes"  writes:

> use \markup instead of \mark \markup?

More like <>^\markup ...

-- 
David Kastrup


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Re: programming error

[MING TSANG]

Eluze,

I follow your suggestion and I came up with smaller file about 268 lines.
I attach the .ly file and the error message log file. Please refer to red text 
below log file.

Emanuel,
Ming.

Starting lilypond-windows.exe 2.17.26 [how-beautiful-your-nameTEST.ly]...
Processing 
`C:/Users/Tsang/Dropbox/Lyndon/LiLy/how-beautiful-your-name/how-beautiful-your-nameTEST.ly'
Parsing...
Interpreting music...
MIDI output to `how-beautiful-your-nameTEST-soprano.mid'...
Interpreting music...
programming error: Impossible or ambiguous (de)crescendo in MIDI.
continuing, cross fingers
MIDI output to `how-beautiful-your-nameTEST-alto.mid'...
Interpreting music...
programming error: Impossible or ambiguous (de)crescendo in MIDI.
continuing, cross fingers
MIDI output to `how-beautiful-your-nameTEST-tenor.mid'...
Interpreting music...
programming error: Impossible or ambiguous (de)crescendo in MIDI.
continuing, cross fingers
Interpreting music...[8][8]
Preprocessing graphical objects...
MIDI output to `how-beautiful-your-nameTEST-bass.mid'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `how-beautiful-your-nameTEST-bass.ps'...
Converting to `./how-beautiful-your-nameTEST-bass.pdf'...
Interpreting music...[8][8]
Preprocessing graphical objects...
Interpreting music...
MIDI output to `how-beautiful-your-nameTEST.mid'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `how-beautiful-your-nameTEST.ps'...
Converting to `./how-beautiful-your-nameTEST.pdf'...
Success: compilation successfully completed
Completed successfully in 14.2".



 From: MING TSANG 
To: "elu...@gmail.com"  
Cc: "lilypond-user@gnu.org"  
Sent: Friday, September 27, 2013 8:33:56 AM
Subject: Re: programming error
 


Hi, Eluze:

Yes, it probably doesn't 5o+ measure to show the problem, but I don't know when 
and where the "programming error" suddenly appears. The compile run seems 
producing .pdf ok. 

I will follow you suggestion and try identify when and where that error first 
appears.

Emanuel,
Ming



 


   1. Re:programming error (Eluze)
  

--

Message: 1
Date: Thu, 26 Sep 2013 05:19:37 -0700 (PDT)
From: Eluze 
To: lilypond-user@gnu.org
Subject: Re: programming error
Message-ID: <1380197977381-151395.p...@n5.nabble.com>
Content-Type: text/plain; charset=UTF-8

MING TSANG
 wrote
> Sorry, I attached a .ly file with \include private files. ?I remove those
> and the following can compile. ?

great - it's compiling mow!

but I wouldn't say this is minimal - the next step now is to reduce your
code to get near the offending code.

but - which of the 2 problems do you want to solve first?

I suggest to attack the lyrics problem:

for this you should comment *all* the verses and re-include them one by one
- this will quickly show in which verse the warning occurs! and it's even
easier if you get rid of all the other stuff which isn't directly involved:

instrumentName,  shortInstrumentName, midiInstrument, Dynamics etc.

also: do you need over 50 measures to show the problem?

hth
Eluze



--\version "2.17.24"
\language "english"

 
 
 
  
 #(set-global-staff-size 18)
\header {
  title = "何 等 寶 貴 聖 名"
  subtitle = "How Beautiful Your Name"
  poet = "葉桭邦 詞"
  composer = "Pepper Choplin"
   % Remove default LilyPond tagline
  tagline = ##f
}

\paper {
  #(set-paper-size "letter")
}

%\include "include_lyndon-specific.ly"


global = {
  \key g \major
  \numericTimeSignature \time 4/4
  %\partial 8
  \tempo "With quiet joy" 4=78
}


soprano =  \relative c'' {  \global

  
  d4. d8 c4 b4 | b8 c8 g2. | r8^\f g8 c8 b8 g4 a4 |\break %m41-43
  b1 | r8^\mf g8 c8 b8 g4 a4 | d2.^\> r4 g,2.^\mp^\!^\markup"rit." g4 |\break %m44-47
%{  c4 b4 g4 a4 | b1~^\p^\> | b1 | r2.^\pp^\! r8  \bar"|."  %}
  \label #'lastPage
}

alto = \relative c'' {  \global

  f4. f8 f4 f4 | e8 e8 e2. | r8 g8 c8 b8 g4 a4 |\break %m41-43
  b1^\markup" dim." | r8 g8 c8 b8 g4 g4 | g2. r4 | ef2. ef4 |\break %m44-47
%{  ef4 ef4 ef4 f4 | g1~ | g1 | r2. r8   %}
}

tenor = \relative c'{  \global
 
  c4. c8 c4 d4 | c8 c8 c2. | r8 g8 c8 b8 g4 a4 | %m41-43
  b1 | r8 g8 c8 b8 g4 a4 | b2. r4 c2. b4 | %m44-47
%{  a4 g4 g4 ef4 | d1~ | d1 | r2. r8 %m48-51%}
}

bass = \relative c' {   \global 
 
  a4. a8 g4 g4 | c,8 c8 c2. | r8 g'8 c8 b8 g4 a4 | %m41-43
  b1 | r8 g8 c8 b8 g4 g4 | g2. r4 | g2. g4 | %m44-47
%{  g,4 g4 g4 g4 | g1~ | g1 | r2. r8   %m48-51 %}
}

verseOne = \lyricmode {  
  %\set stanza = "一"
  滿  有
  尊  貴, 滿  有  光  輝, 耶  穌  於  我  是  活  水  源,
  何  等  寶  貴  聖  名.  滿  有  名.  何  等  寶  貴  尊
}

verseTwo = \lyricmode {
  % \set stanza = "二"
  " "   " " 恩  惠, 滿  有  愛  心, 慈  è

Re: staff-specific markup?

[Graham King]

Brilliant.  Thank you.  "<>" gives me something to which to attach a
\markup in the absence of any nearby note.  I would never have guessed
that.

Am I correct in thinking that there is no way to attach markup to, say,
a clef or a time signature?

On Fri, 2013-09-27 at 21:47 +0200, David Kastrup wrote:

> "Phil Holmes"  writes:
> 
> > use \markup instead of \mark \markup?
> 
> More like <>^\markup ...
> 
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Re: Re[surrecting]: Version Control and Public Repository

[Curt]

This is a common problem in software engineering.  In my day job as a java 
developer we use something called archiva which collects multiple versions of 
the libraries we depend on.  So if projectA (like your score) depends on 
version 1.1 of a library (like your tweaks), while another project depends on a 
different version, then they'll both be available, and the appropriate version 
would just be pulled in.  That tech is specific to java and maven though I 
think.

For a git-only approach, the *classic* way of handling this - and I haven't yet 
tried this myself, so I might not be describing this quite right - is to use 
submodules.  So you would have a separate repository for your tweaks, with tags 
for the different versions you care about.  Then you could pull the submodule 
into your project(s), each pegged at the appropriate version number.  However, 
I think this would require each of your score projects to be in a separate 
repository.

If you keep all your scores in the same repository, and each score project 
depends on a different version of your tweaks file, then I can't immediately 
see a way to do what you want - you'd probably be stuck with having copies of 
your tweaks library, with different version numbers in the file names.

Curt

On Sep 27, 2013, at 2:11 AM, Alexander Kobel  wrote:

> Dear all,
> 
> long time ago there was this thread about version controlling Lily scores, 
> and much more recently Urs' excellent essay and tutorial on the LilyPond blog 
> [1].
> 
> Now, that surely is a great read, but I'm left with one question. Over time, 
> I've collected a few scores, made with different LilyPond versions, which I 
> want to put into a VCS repo now and clean up a bit. At some (early) point 
> though, I started to use include files for common tweaks and shortcuts.
> So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version 
> my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong to 
> maintain my-tweaks-* in different files, because it really is a development 
> from 0.1; also, it means copy-pasting to a new file whenever a nice add-on 
> should be available for new scores. "Where's my most recent house style?"
> On the other hand, some tweaks introduced in newer versions of the include do 
> not work well together with local tweaks of scoreA; hence, I want to at least 
> refer to which version of my-tweaks-?.ly I used there last time I touched the 
> piece. (E.g., I have scores which predate Joe's tremendous improvements to 
> vertical spacing; it's obvious that I have to rewrite all spacing code if I 
> convert them to today's Lily, but I need the old state of tweaks for 
> everything else.)
> 
> I'm pretty sure that's a common problem for repos containing several separate 
> projects, unlike source code for a single library or application which needs 
> to be updated entirely in one shot when dependencies change. So, most 
> probably there's a `proper` way to deal with the problem. But, which? Any 
> suggestions?
> 
> The only possibility I see to keep the different versions (in git) somewhat 
> cleanly separated is to use a house-style branch for the includes, and use 
> one branch per project (a.k.a. score). If necessary, merge the recent 
> modifications from house-style to project. This sounds clean, but also like 
> overkill - after all, I usually write 2-4 pages-scores (max was around 20 
> pages, I think), not operas.
> On the other hand, I preferably don't want to check every time I modify an 
> include whether the change has negative impact on any of my score, but I also 
> don't want to be stuck with some broken old project for a little 
> modification. (Like, extract choir parts from the piano reduction--which 
> typically happens ~1 hour before the rehearsal...)
> 
> 
> Thanks in advance,
> Alexander
> 
> 
> [1] http://lilypondblog.org/2013/09/write-lilypond-code-for-version-control/
> 
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Re: programming error

[Colin Campbell]

On 13-09-27 02:16 PM, MING TSANG wrote:

Eluze,

I follow your suggestion and I came up with smaller file about 268 lines.
I attach the .ly file and the error message log file. Please refer to 
red text below log file.


Emanuel,
Ming.





In your rehearsalMidi section, you've set the Score.midiMinimumVolume to 
the same value as the MaximumVolume and that gives no room to 
decrescendo. I tested it by setting MaximumVoilume to 0.6 and your score 
compiled fine.


Cheers,
Colin


--
I find television very educating. Every time somebody turns on the set, 
I go into the other room and read a book.

-Groucho Marx, 1890-1977
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Re: Re[surrecting]: Version Control and Public Repository

[Alexander Kobel]

On 09/27/2013 10:53 PM, Curt wrote:

This is a common problem in software engineering.  [...]


I assumed so; I don't experience it in the projects I'm currently 
involved in, but I am sure it is well studied.



For a git-only approach, the *classic* way of handling this - and I
haven't yet tried this myself, so I might not be describing this
quite right - is to use submodules.  So you would have a separate
repository for your tweaks, with tags for the different versions you
care about.  Then you could pull the submodule into your project(s),
each pegged at the appropriate version number.  However, I think this
would require each of your score projects to be in a separate
repository.


Makes sense. Probably a branch instead of a full repo per project should 
also be enough. It's a clean approach, I think, but...



If you keep all your scores in the same repository, [...] you'd
probably be stuck with having copies of your tweaks library, with
different version numbers in the file names.


...that'll probably be the most realistic option. I feel like a proper 
approach is simply overkill for my needs.
But I cannot judge it yet, I need to try. I'd be glad to be proven 
wrong... :-)



Thanks,
Alexander

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Re: programming error

[Thomas Morley]

2013/9/27 Colin Campbell :
> On 13-09-27 02:16 PM, MING TSANG wrote:
>
> Eluze,
>
> I follow your suggestion and I came up with smaller file about 268 lines.
> I attach the .ly file and the error message log file. Please refer to red
> text below log file.
>
> Emanuel,
> Ming.
>
>
>
>
> In your rehearsalMidi section, you've set the  Score.midiMinimumVolume to
> the same value as the MaximumVolume and that gives no room to decrescendo. I
> tested it by setting MaximumVoilume to 0.6 and your score compiled fine.
>
> Cheers,
> Colin

Ming,

Colin is right.

Though let me say:
Please reread
http://lilypond.org/website/tiny-examples.html
and _do_ as adviced.
Your "smaller" file spammed the folder where it was stored with
numerous pdfs and midis.

I was quite bugged to an amount that I took the effort to create a
minimal example to show you, what _minimal example_ actually means:

\version "2.17.24"

\score {
  { c\f\> c\mp }
  \midi {
\set Score.midiMinimumVolume = #0.5
\set Score.midiMaximumVolume = #0.5
  }
}

Now it should be _obvious_ what's wrong.

It took some time to make it and I do something like that once a year. maximum.
Because this is _your_ duty.

-Harm

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Re: Acciaccaturas and slashed stems

[Peter Bjuhr]

On 09/27/2013 01:43 PM, David Kastrup wrote:

I've committed a patch implementing grace autobeaming to
http://code.google.com/p/lilypond/issues/detail?id=3566>


Hi David!

I also wanted to contribute with some testing. I changed the files with 
your patched changes (lily/auto-beam-engraver.cc and 
ly/engraver-init.ly) and rebuilt. But the new autobeaming doesn't 
appear. Can you see some obvious reason why not?


Best
Peter


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Re: Re[surrecting]: Version Control and Public Repository

[Franciszek Boehlke]

2013/9/27 Alexander Kobel 

> Dear all,
>
> long time ago there was this thread about version controlling Lily scores,
> and much more recently Urs' excellent essay and tutorial on the LilyPond
> blog [1].
>
> Now, that surely is a great read, but I'm left with one question. Over
> time, I've collected a few scores, made with different LilyPond versions,
> which I want to put into a VCS repo now and clean up a bit. At some (early)
> point though, I started to use include files for common tweaks and
> shortcuts.
> So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version
> my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong to
> maintain my-tweaks-* in different files, because it really is a development
> from 0.1; also, it means copy-pasting to a new file whenever a nice add-on
> should be available for new scores. "Where's my most recent house style?"
> On the other hand, some tweaks introduced in newer versions of the include
> do not work well together with local tweaks of scoreA; hence, I want to at
> least refer to which version of my-tweaks-?.ly I used there last time I
> touched the piece. (E.g., I have scores which predate Joe's tremendous
> improvements to vertical spacing; it's obvious that I have to rewrite all
> spacing code if I convert them to today's Lily, but I need the old state of
> tweaks for everything else.)
>
> I'm pretty sure that's a common problem for repos containing several
> separate projects, unlike source code for a single library or application
> which needs to be updated entirely in one shot when dependencies change.
> So, most probably there's a `proper` way to deal with the problem. But,
> which? Any suggestions?
>
> The only possibility I see to keep the different versions (in git)
> somewhat cleanly separated is to use a house-style branch for the includes,
> and use one branch per project (a.k.a. score). If necessary, merge the
> recent modifications from house-style to project. This sounds clean, but
> also like overkill - after all, I usually write 2-4 pages-scores (max was
> around 20 pages, I think), not operas.
> On the other hand, I preferably don't want to check every time I modify an
> include whether the change has negative impact on any of my score, but I
> also don't want to be stuck with some broken old project for a little
> modification. (Like, extract choir parts from the piano reduction--which
> typically happens ~1 hour before the rehearsal...)
>
>
> Thanks in advance,
> Alexander
>
>
> [1] http://lilypondblog.org/2013/**09/write-lilypond-code-for-**
> version-control/
>
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> https://lists.gnu.org/mailman/**listinfo/lilypond-user
>

I have not real experiance in using git that way, but can imagine a bit how
does it work. I think there are two main ways you can go, and possibly
using submodules is the third.

One way (which i would recommend) is working on one branch, updating tweaks
and not bothering with breaking compatibility at all. It will make some
scores unusable with the newest version of tweaks, but it is not really a
big problem: you can always ask git for the latest commit, which changed
score A (), and checkout this particular commit before compiling this
score. Drawback: if you want to update score to some intermediate version
of tweaks, you have to make it in new branch. However, if you generally
update always to the newest version, it is not a problem at all.

Second way is to keep every score, or some bunches of scores, in separate
branch, and tweaks also in separate branch. Then, in every score-branch,
you keep working version of tweaks, and can merge newer tweaks, fixing
conflicts.  This is, in a way, very clean solution, but it introduces a lot
of unnecessary fuss and lot of branch switching, which is generally
inconvenient: your files are hidden in repository, and you have to checkout
branches to access them. What's even more inconvenient, is working on
tweaks - if you fix them while beeing on a score-branch, you have to merge
this change back to tweak-branch. It is just one line, but forgetting it
may then lead to stupid conflicts. So, I think it is clearly an overkill,
as long as you are not going to developp your scores in parallel, updating
them to subsequent tweaks versions (which is not case, i suppose).

Possibly there are some other ways (submodules? I doubt they are really a
solution, it is probably other way to overkill), possibly mixing somehow
this two attemps, but for what you described, i will try the first one:
just putting everything together, and checkouting proper commits for
compiling old scores. Btw, you can still develop scores in their own
branches, if you like - in git it is never a problem ;)
Generally, it is important property of git: branches cost you _n

RE: \path command

[Curt McDowell]

Martin, you're absolutely right, I should have included an attachment. Sorry
for the time wastage.

Ming, try this version. It's just an idea. You might need to tweak relative
positions and/or make the PostScript more elaborate to draw what you want.

Cheers,
Curt

\version "2.13.51"

\header {
title = "Mary Had a Little Lamb"
subtitle = \markup {
  "whose fish"
  \hspace #2
  \note #"8" #1
  \postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3
rcurveto stroke"
  \hspace #5
  "was white as snow"
}
}

rh = \relative c' {
\time 2/4 \key c \major \clef treble
e8 d c d e e e4
d8 d d4 e8 g g4
e8 d c d e e e e
d d e d c2
\bar "|."
}

lh = \relative c {
\clef bass
c8  g,  c  g, 
b  g,  c  g, 
c  g,  c  g, 
b  g,  c  c4
}

\score {
  \new PianoStaff <<
\new Staff { \rh }
\new Staff { \lh }
  >>
  \layout { }
}

-Original Message-
From: Martin Tarenskeen [mailto:m.tarensk...@zonnet.nl] 
Sent: Friday, September 27, 2013 12:47 AM
To: Curt McDowell
Cc: 'MING TSANG'; lilypond-user mailinglist
Subject: RE: \path command



On Thu, 26 Sep 2013, Curt McDowell wrote:

> Here's something like that, but using \postscript instead of \path. I
can't get \path at the right origin. It seems to ignore an initial "moveto".
> Even \postscript seems to set the origin differently depending on which
note the markup goes on (hence two versions of the markup below).
>  
> 
> Cheers,
> 
> Curt
> 
>  
> 
> \version "2.13.51"
()


Hi,

Thank your for posting your \postscript example. 
But before I was able to view the result I had some trouble copying the
lilypond code to a .ly file from my e-mail client (alpine). In the end I
succeeded and was able to compile the example. But it would have saved me
some trouble if the example was given as an attachment to the original
message.

What is the recommended way to share LilyPond example code here in this
mailinglist?

-- 

MT
\version "2.13.51"

\header {
	title = "Mary Had a Little Lamb"
	subtitle = \markup {
	  "whose fish"
	  \hspace #2
	  \note #"8" #1
	  \postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3 rcurveto stroke"
	  \hspace #5
	  "was white as snow"
	}
}

rh = \relative c' {
	\time 2/4 \key c \major \clef treble
	e8 d c d e e e4
	d8 d d4 e8 g g4
	e8 d c d e e e e
	d d e d c2
	\bar "|."
}

lh = \relative c {
	\clef bass
	c8  g,  c  g, 
	b  g,  c  g, 
	c  g,  c  g, 
	b  g,  c  c4
}

\score {
  \new PianoStaff <<
\new Staff { \rh }
\new Staff { \lh }
  >>
  \layout { }
}
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Re: programming error

[Eluze]

Am 27.09.2013 14:33, schrieb MING TSANG:

Hi, Eluze:

Yes, it probably doesn't 5o+ measure to show the problem, but I don't know when and where 
the "programming error" suddenly appears. The compile run seems producing .pdf 
ok.

I will follow you suggestion and try identify when and where that error first 
appears.




so in your newest file you have replaced "" in the verses by " " (with a 
blank) - superb!


now, for the midi files (errors) try to reduce your code and you'll get 
it ( Colin and Harm have already pointed to the essentials)


wish you good luck
Eluze

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Re: Help with Chordname

[Alec Bartsch]

On Sep 27, 2013, at 5:23 PM, Steve Noland  wrote:

> I am trying to typeset a score for jazz orchestra.  I am having problems with 
> some of the jazz chordnames engraving correctly. Specifically, a Dm7(b5) 
> chord (D minor 7, flat 5) engraves as a Dº, or D diminished.  What can be the 
> problem?

I use the include file below for Brandt-Roemer-style chord names, which will 
typeset the minor 7, flat 5 the way you (and I) would expect, assuming you 
meant to say "half-diminished". (Or at least you can use it as a starting point 
for further tweaking.)

Now, I wish I knew how to make the accidentals in chord names a bit smaller 
than their default size, and shift their baseline a bit.

%
% Chord symbols recommended in "Standardized Chord Symbol Notation"
% by Carl Brandt and Clinton Roemer (1976), Roerick Music Co.
%

brandtRoemerExceptionMusic = {
1-\markup { \hspace #0.2 \fontsize #-4.5 MA \fontsize #-2 
\super 7 }
1-\markup { \hspace #0.2 \fontsize #-4.5 MI }
-\markup { \fontsize #-4.5 MI \fontsize #-2 \super 6 }
% minor 6/9
-\markup { \fontsize #-4.5 MI \fontsize #-2 \super "(ADD 9)" 
}
-\markup { \hspace #0.2 \fontsize #-4.5 MI \fontsize #-2 
\super 7 }
-\markup { \fontsize #-4.5 MI \fontsize #-2 \super "(MA 7)" }
-\markup { \fontsize #-4.5 SUS }
-\markup { \fontsize #-2 \super 7 \fontsize #-4.5 SUS }
-\markup { \fontsize #-4.5 MI \fontsize #-2 \super \concat 
{ "7(" \flat "5)" } }
-\markup { \fontsize #-2 \super 7 }
-\markup { \fontsize #-4.5 "+"}
-\markup { \fontsize #-4.5 "+" \fontsize #-2 \super 7 }
}

BrandtRoemerExceptions = #(sequential-music-to-chord-exceptions 
brandtRoemerExceptionMusic #t)

\layout {
\context {
\ChordNames
chordNameExceptions = #BrandtRoemerExceptions
%\override ChordName #'font-family = #'roman
\override ChordName #'font-size = #1.5
}
}


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Re: lilypond-user Digest, Vol 130, Issue 178

[MING TSANG]

Eluze, Thomas & Colin:

Thank you all for your help and patience. 
Frecobaldi generate the template code, I did not check the rehearsalmidi part 
closely.
Next time I will follow tiny-sample  to demonstrate the problem.

Thanks again, emanuel,
Ming.    



 

   2. Re:programming error (Eluze)

Message: 2
Date: Sat, 28 Sep 2013 01:05:24 +0200
From: Eluze 
Cc: "lilypond-user@gnu.org" 
Subject: Re: programming error
Message-ID: <52460f34.9060...@gmail.com>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed



so in your newest file you have replaced "" in the verses by " " (with a 
blank) - superb!

now, for the midi files (errors) try to reduce your code and you'll get 
it ( Colin and Harm have already pointed to the essentials)

wish you good luck
Eluze



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Re: \path command

[MING TSANG]

Curt & Martin:

Thank you for the postscript code.  I play around with different number, I 
finally settle for this code:

\version "2.17.27"
\markup {
\hspace #1.5
\note #"8" #1
"yMt"
%\postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3
\postscript #"0.05 setlinewidth 0 -2.5 moveto -14 10 -10 -7 3 5
rcurveto stroke"
\hspace #5
}


Thank you, emanuel,
Ming.



 From: Curt McDowell 
To: 'Martin Tarenskeen' ; 'MING TSANG' 
 
Cc: 'lilypond-user mailinglist'  
Sent: Friday, September 27, 2013 6:51:14 PM
Subject: RE: \path command
 

Martin, you're absolutely right, I should have included an attachment. Sorry
for the time wastage.

Ming, try this version. It's just an idea. You might need to tweak relative
positions and/or make the PostScript more elaborate to draw what you want.

Cheers,
Curt

\version "2.13.51"

\header {
    title = "Mary Had a Little Lamb"
    subtitle = \markup {
      "whose fish"
      \hspace #2
      \note #"8" #1
      \postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3
rcurveto stroke"
      \hspace #5
      "was white as snow"
    }
}

rh = \relative c' {
    \time 2/4 \key c \major \clef treble
    e8 d c d e e e4
    d8 d d4 e8 g g4
    e8 d c d e e e e
    d d e d c2
    \bar "|."
}

lh = \relative c {
    \clef bass
    c8  g,  c  g, 
    b  g,  c  g, 
    c  g,  c  g, 
    b  g,  c  c4
}

\score {
  \new PianoStaff <<
    \new Staff { \rh }
    \new Staff { \lh }
  >>
  \layout { }
}

-Original Message-
From: Martin Tarenskeen [mailto:m.tarensk...@zonnet.nl] 
Sent: Friday, September 27, 2013 12:47 AM
To: Curt McDowell
Cc: 'MING TSANG'; lilypond-user mailinglist
Subject: RE: \path command



On Thu, 26 Sep 2013, Curt McDowell wrote:

> Here's something like that, but using \postscript instead of \path. I
can't get \path at the right origin. It seems to ignore an initial "moveto".
> Even \postscript seems to set the origin differently depending on which
note the markup goes on (hence two versions of the markup below).
>  
> 
> Cheers,
> 
> Curt
> 
>  
> 
> \version "2.13.51"
()


Hi,

Thank your for posting your \postscript example. 
But before I was able to view the result I had some trouble copying the
lilypond code to a .ly file from my e-mail client (alpine). In the end I
succeeded and was able to compile the example. But it would have saved me
some trouble if the example was given as an attachment to the original
message.

What is the recommended way to share LilyPond example code here in this
mailinglist?

-- 

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Re: Help with Chordname

[Tim McNamara]

> On Sep 27, 2013, at 7:23 PM, Steve Noland  wrote:
> 
> I am trying to typeset a score for jazz orchestra.  I am having problems with 
> some of the jazz chordnames engraving correctly.  Specifically, a Dm7(b5) 
> chord (D minor 7, flat 5) engraves as a Dº, or D diminished.  What can be the 
> problem?

In the example you provide, the chord is properly rendered as a half-diminished 
chord, not a diminished chord- note the slash through the superscripted O which 
indicates half-diminished.

That is the Ignaztek (sp?) symbol for the chord which is the Lilypond default 
and is commonly used in hand-written lead sheets especially among jazz 
musicians, although it seems like this has fallen out of favor.  If you want 
the chords spelled out rather than using symbols (major 7 instead of delta, 
min7b5 instead of slashed O, dim7 instead of O7, etc.) the  you will need to 
include a chordname exception file for this.  There are several already written 
and available, probably on the snippet site.  I use pop-chords.ly for my jazz 
lead sheets.
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Re: staff-specific markup?

[David Kastrup]

Graham King  writes:

> Brilliant.  Thank you.  "<>" gives me something to which to attach a
> \markup in the absence of any nearby note.  I would never have guessed
> that.

Well, we spell it out in

http://lilypond.org/doc/v2.17/Documentation/notation/single-voice#chorded-notes>

(scroll down to "A chord acts merely as a container ")

but obviously that's not where you'd look for it when encountering this
problem.  At least the section is not named "Beware of the Leopard".

> Am I correct in thinking that there is no way to attach markup to,
> say, a clef or a time signature?

I think so.  A clef or time signature is usually implicitly typeset when
certain Staff context properties change, so there really is no actual
element that LilyPond can safely attach to.  It might be interesting to
design a general mechanism to make information travel in such
situations: something like that is already partially done for
multimeasure rests.

In the mean time, using <>^ or similar might come in handy here.

-- 
David Kastrup


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Re: variables tied with slurs

[Urs Liska]

Am 27.09.2013 10:46, schrieb Peter Bjuhr:


On 09/27/2013 07:05 AM, Urs Liska wrote:

Does

A = \drums { sn8 sn8~ }

{ \A \A }

Do what you want?


I was curious of this, but Urs is right it does work. There are no 
obstacles in ending with a tie. Apparently it is just ignored:


\version "2.17.26"

% How could I write the equivalent of
\drums { sn8 sn8 ~ sn8 sn8 }
%using variables?

% This does work!
A = \drummode { sn8 sn8 ~ }

\score {
\new DrumStaff
 { \A \A }
}

%end with a tie
{ b'4 a' g' b' ~ }

Best
Peter



Thanks.
I didn't know about \drums vs. \drummode and couldn't check.
AFAIK a Tie without a target will issue a warning, but that's all. You 
can always use a tie to end a variable and connect it to a following music.


Urs

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