To many colliding ...

2014-10-28 Thread Dr. Bernhard Kleine 
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Hash: SHA1

I get this warning:

c:/users/bk/appdata/local/temp/frescobaldi-d7v7tg/tmp6zpsvg/Messe in 
C_Gloria.ly:118:65: Warnung: zu viele kollidierende Notenspalten werden 
ignoriert
c,4 ( \stemDown g' e c |f) < b cis, >^. < a d, >^. d,4\rest |
a'1~ | a4 g a a^> | s1

How to avoid it?

Bernhard
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I get this warning: c:/users/bk/appdata/local/temp/frescobaldi-d7v7tg/tmp6zpsvg/Messe in C_Gloria.ly:118:65: Warnung: zu viele kollidierende Notenspalten werden ignoriertc,4 ( \stemDown g' e c |f) < b cis, >^. < a d, >^. d,4\rest | a'1~ | a4 g a a^> | s1 How to avoid it? Bernhard

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Re: To many colliding ...

2014-10-28 Thread Trevor Daniels 

Dr. Bernhard Kleine wrote Tuesday, October 28, 2014 8:15 AM

> I get this warning:
>
> c:/users/bk/appdata/local/temp/frescobaldi-d7v7tg/tmp6zpsvg/Messe in 
> C_Gloria.ly:118:65: 
> Warnung: zu viele kollidierende Notenspalten werden ignoriert
> c,4 ( \stemDown g' e c |f) < b cis, >^. < a d, >^. d,4\rest |
> a'1~ | a4 g a a^> | s1
>
> How to avoid it?

First, always post a compilable snippet - one that a potential adviser can 
simply cut and past to generate the error.  This has simply been cut from a 
larger score and doesn't compile by itself.

Second, after adding the missing \relative to make a single music expression, 
the expression compiles without error, so as well as making sure the snippet 
compiles, make sure it actually shows the error you're experiencing.  Otherwise 
you're likely to get even more scathing comments than this one.

Third, read and digest at least the first three chapters of the Learning Manual 
before asking a question.

Trevor
 
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AW: To many colliding ...

2014-10-28 Thread Dr. Bernhard Kleine 
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

- -Ursprüngliche Nachricht-
Von: Trevor Daniels [mailto:t.dani...@treda.co.uk] 
Gesendet: Dienstag, 28. Oktober 2014 10:24
An: Dr. Bernhard Kleine; lilypond-user@gnu.org
Betreff: Re: To many colliding ...


Dr. Bernhard Kleine wrote Tuesday, October 28, 2014 8:15 AM

> I get this warning:
>
> c:/users/bk/appdata/local/temp/frescobaldi-d7v7tg/tmp6zpsvg/Messe in 
> C_Gloria.ly:118:65: 
> Warnung: zu viele kollidierende Notenspalten werden ignoriert
> c,4 ( \stemDown g' e c |f) < b cis, >^. < a d, >^. d,4\rest |
> a'1~ | a4 g a a^> | s1
>
> How to avoid it?

First, always post a compilable snippet - one that a potential adviser can 
simply cut and past to generate the error.  This has simply been cut from a 
larger score and doesn't compile by itself.

Second, after adding the missing \relative to make a single music expression, 
the expression compiles without error, so as well as making sure the snippet 
compiles, make sure it actually shows the error you're experiencing.  Otherwise 
you're likely to get even more scathing comments than this one.

Third, read and digest at least the first three chapters of the Learning Manual 
before asking a question.

Trevor
 
__
I have added a file which shows the warning. It compiles but I would like to 
know about the warning.

Bernhard

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\version "2.18.2"
\language "deutsch"

global = {
  \key c \major
  \time 4/4
}


leftOne = \relative c' {
  \global
  % Die Noten folgen hier.
s1 | s2 s4 g | s2 \stemDown d4 (\stemUp c4 | \stemDown g'2~ g4) s4 | s1| \stemUp

}

leftTwo = \relative c {
  \global
  % Die Noten folgen hier.
  < b! g>4 d\rest d2\rest| a' a, |  d s2 | h2 ( c4) d4\rest | < c' g e>^. d\rest  < c g e>^. d\rest

}

\score {
  \new PianoStaff \with {
instrumentName = "Klavier"
  } <<
   
\new Staff = "left" \with {
  midiInstrument = "acoustic grand"
} { \clef bass << \leftOne \\ \leftTwo >> }
  >>
  \layout { }
  \midi {
\tempo 4=100
  }
}


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Re: Slur and acciaccatura in chords

2014-10-28 Thread David Raleigh Arnold 
On Mon, 27 Oct 2014 14:31:46 -0700 (PDT)
tisimst  wrote:

> This is an interesting problem... It begs the question, "Can
> slurs be made to start/end on arbitrary chord notes?" It
> appears that they cannot, but can they be made to do so? I
> don't think I'd personally have too much use for the
> functionality, but it appears that it might be useful.

Since a legatura (slur) to one note is a legatura to all on the
same stem, I don't see how it could be useful. Regards, Rale

-- 
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: To many colliding ...

2014-10-28 Thread Phil Holmes 
- Original Message - 
From: "Dr. Bernhard Kleine" 


I have added a file which shows the warning. It compiles but I would like 
to know about the warning.



Bernhard


GNU LilyPond 2.19.14
Processing `test_colliding.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Interpreting music...
MIDI output to `test_colliding.mid'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `test_colliding.ps'...
Converting to `./test_colliding.pdf'...
Success: compilation successfully completed

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Re: To many colliding ...

2014-10-28 Thread Urs Liska 


Am 28.10.2014 13:22, schrieb Phil Holmes:
- Original Message - From: "Dr. Bernhard Kleine" 



I have added a file which shows the warning. It compiles but I would 
like to know about the warning.



Bernhard


GNU LilyPond 2.19.14
Processing `test_colliding.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Interpreting music...
MIDI output to `test_colliding.mid'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `test_colliding.ps'...
Converting to `./test_colliding.pdf'...
Success: compilation successfully completed

--
Phil Holmes


Didn't show a warning for me too.
But generally you really should read
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices#single_002dstaff-polyphony
to learn how to do that.

For polyphony LilyPond provides semantic structure with \voiceOne 
through out \voiceFour commands. These are usually sufficient to produce 
correct engraving, including the horizontal shift of notes.


If you *want* to print two voices on one stem you should probably write 
them as chords instead of independent voices (but I doubt this is what 
you intend).


HTH
Urs



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Re: To many colliding ...

2014-10-28 Thread Trevor Daniels 

Dr. Bernhard Kleine wrote Tuesday, October 28, 2014 12:05 PM

> I have added a file which shows the warning. It compiles but I would like to 
> know about the warning.

It's due to the use of \stemUp and \stemDown commands.  These commands are not 
a substitute to the correct use of voices, and should rarely be needed.  Try to 
code your score without using them by assigning the notes to correct voices.  
Section 3.2.2 in the Learning Manual may help: 
http://www.lilypond.org/doc/v2.19/Documentation/learning/explicitly-instantiating-voices

Note in particular that voices set the correct directions of stems, 
articulations, dots, etc automatically.  You should need to override these only 
rarely.

Trevor
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Re: tie and slur problem

2014-10-28 Thread Urs Liska 


Am 28.10.2014 09:42, schrieb Dr. Bernhard Kleine:

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Hash: SHA1

There should be a tie between the two c and a slur from e to f.  and a slur
from g  over b(bes) to a in the right hand. The upper g and b and a are in a 
separate voice and no problem.
But how to code the tie and the slur in voiceTwo? Between  to < c f>


You can force the slur to be printed upwards through either \slurUp (and 
\slurNeutral afterwards) or the direction operator:


2 ^( ~  )


This won't look very good, though, so you will have to tweak the slur 
later, presumably with \shape.
But it will give you a semantically correct rendering, and I strongly 
suggest to let this untouched as long as possible (i.e. only start 
tweaking when you either can't read the output at all or when you have 
to produce better final output).



HTH
Urs




Schnipsel from Missa in C from Anton Bruckner

Bernhard


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Re:Slur and acciaccatura in chords

2014-10-28 Thread Stephen MacNeil 
Hi Abraham and Rale, thanks for the reply. As a classical guitarist I can
say the function that Abraham mentions (Can slurs be
made to start/end on arbitrary chord notes?), would be ideal. perhaps a
work around on the tie function. Something like this would also work. I
think.

\acciaccatura d'8 c 

As for your comment Rale, I am confused by your comment as your "Tag" seems
to indicate you are a guitarist. Anyway, on the guitar when playing
multiple voices (in classical  rock jazz flamenco etc.). I it is common to
have one voice slur (pulloff or hammeron) to other notes while the
remaining voices move or stay. You can think of each chord as separate
voices only instead of scoring it across many different staffs we use just
one.

a couple examples.

http://www.delcamp.net/pdf/jose_ferrer_souvenir_du_quinze_aout.pdf

No 2 acciaccatura ex.

http://boije.statensmusikverk.se/ebibliotek/boije/pdf/Boije%20148.pdf

slur in a chord

http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/1906086_02.jpg

http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/1906086_03.jpg

last one in the center

https://www.google.ca/search?q=say+it+ain%27t+so+score+pdf&biw=1280&bih=668&source=lnms&tbm=isch&sa=X&ei=D7NPVL-7Gov1yAT02IHIAw&ved=0CAcQ_AUoAg#tbm=isch&q=chord+slur&facrc=_&imgdii=_&imgrc=7Cb6wal8Jb2bJM%253A%3BV__KZoAQPQYhjM%3Bhttp%253A%252F%252Fwww.arkkra.com%252Fdoc%252Fuguide%252Fmugex23.gif%3Bhttp%253A%252F%252Fwww.arkkra.com%252Fdoc%252Fuguide%252Fichdattr.html%3B300%3B93

I know I know crazy guitarists :)

thanks again


>This is an interesting problem... It begs the question, "Can slurs be
>made to start/end on arbitrary chord notes?" It appears that they
>cannot, but can they be made to do so? I don't think I'd personally
>have too much use for the functionality, but it appears that it might
>be useful.

>Regards,
>Abraham

>Since a legatura (slur) to one note is a legatura to all on the
>same stem, I don't see how it could be useful. Regards, Rale

--
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

On Mon, Oct 27, 2014 at 2:02 PM, me here [via Lilypond]
 wrote:
> well I think this is the best I can do
>
> \version "2.18.2"
>
> \relative c'{
> \time 6/8
> <<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo
> \slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur
> \override Slur.positions = #'(0 . 0) \acciaccatura d'8 c   g c>}>> |
>
> }
> \relative c'{
> \time 6/8
> 8
> \stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1
> . 2.0)) Slur \override Slur.positions = #'(0 . 0)
> 16 (a) 8
> }
>
>
>
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Re:tie and slur problem

2014-10-28 Thread Stephen MacNeil 
Good pint Urs however that only works for outside notes, also I wanted the
direction to be opposite the stem as in traditional classical guitar.  So
it doesn't work. also what happens when the slur is to a note in the
middle? as in the examples I just sent.

here is a quick example


http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/1906086_02.jpg

Thanks

Am 28.10.2014 09:42, schrieb Dr. Bernhard Kleine:
> -BEGIN PGP SIGNED MESSAGE-
> Hash: SHA1
>
> There should be a tie between the two c and a slur from e to f.  and a
slur
> from g  over b(bes) to a in the right hand. The upper g and b and a are
in a separate voice and no problem.
> But how to code the tie and the slur in voiceTwo? Between  to < c f>

2 ^( ~  )


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Re:tie and slur problem

2014-10-28 Thread Stephen MacNeil 
Sorry Urs I thought that was to me as the tittle is similar.

my apologies
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Re:tie and slur problem

2014-10-28 Thread tisimst 
Stephen,

You should realize that there are two ways to add grace-style notes to 
your music (sorry, this also relates to the other thread "Slur and 
acciaccatura in chords"):

1. \grace (no slur) & \appogiatura (automatic slur)
2. \slashedGrace (no slur) & \acciaccatura (automatic slur)

If you need to control the direction of the slur more directly, you can 
always use the \slashedGrace and manual slur-direction syntax like this:

\slashedGrace b8_( 4 )

This way, you can use "^(" to make the slur go up and "_(" to make the 
slur go down at-will (which you can use in any other normal slur and 
phrasing-slur usage, not just with grace notes). And, until there is a 
better solution, you may have to tweak the shape of the slur to go to 
the correct note (say you wanted to go the "a" in the chord).

Regards,
Abraham

P.S. Sorry, the direction of this message also relates to the other 
thread "Slurs and acciaccatura in chords:

http://lilypond.1069038.n5.nabble.com/RE-Slur-and-acciaccatura-in-chords-tp168002p168036.html

On Tue, Oct 28, 2014 at 10:59 AM, me here [via Lilypond] 
 wrote:
> Good pint Urs however that only works for outside notes, also I 
> wanted the direction to be opposite the stem as in traditional 
> classical guitar.  So it doesn't work. also what happens when the 
> slur is to a note in the middle? as in the examples I just sent.
> 
> here is a quick example
> 
> 
> http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/1906086_02.jpg
> 
> Thanks
> 
> Am 28.10.2014 09:42, schrieb Dr. Bernhard Kleine:
> > -BEGIN PGP SIGNED MESSAGE-
> > Hash: SHA1
> >
> > There should be a tie between the two c and a slur from e to f.  
> and a slur
> > from g  over b(bes) to a in the right hand. The upper g and b and a 
> are in a separate voice and no problem.
> > But how to code the tie and the slur in voiceTwo? Between  to 
> < c f>
> 
>  (and
> <\slurNeutral afterwards) or the direction operator:
> 
> < 2 ^( ~  )
> 
> 
>  have
>  
> 
>   
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[no subject]

2014-10-28 Thread Stephen MacNeil 
I understand that however you still can not control what note it goes to.

\slashedGrace b8_( 4 )


How would I indicate to have the slur attach to the 'a' note?


>And, until there is a
>better solution, you may have to tweak the shape of the slur to go to
>the correct note (say you wanted to go the "a" in the chord).

which is the same solution I have already done with the previous examples.


\version "2.18.2"


\relative c'{

\time 6/8

<<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo
\slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur
\override Slur.positions = #'(0 . 0) \acciaccatura d'8 c  }>> |


}

\relative c'{

\time 6/8

8

\stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 .
2.0)) Slur \override Slur.positions = #'(0 . 0)

16 (a) 8

}


Thanks
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Re: (no subject)

2014-10-28 Thread tisimst 
Stephen,

On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond] 
 wrote:
> I understand that however you still can not control what note it goes 
> to.
> 
> \slashedGrace b8_( 4 )
> 
> How would I indicate to have the slur attach to the 'a' note? 

Sorry. That's just the way it works for now. The ideal would be to do 
this, but there isn't a mechanism for it:

\slashedGrace b8_( 4 

> >And, until there is a
> >better solution, you may have to tweak the shape of the slur to go to
> >the correct note (say you wanted to go the "a" in the chord).
> 
> which is the same solution I have already done with the previous 
> examples.
>  
> \version "2.18.2"
> 
> \relative c'{
> \time 6/8
> <<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo 
> \slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur 
> \override Slur.positions = #'(0 . 0) \acciaccatura d'8 c   g c>}>> |
> 
> }
> \relative c'{
> \time 6/8
> 8
> \stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 
> . 2.0)) Slur \override Slur.positions = #'(0 . 0)
> 16 (a) 8
> }
> 
> Thanks
> 

That is true, but let's clean up your code a little:

\relative c'{
  \time 6/8
  \shape #'((0.2 . 1.1) (0.5 . 1.5) (0.3 . 2.2) (0.1 . 2.8)) Slur 
  \acciaccatura d'8   
}

\relative c'{
  \time 6/8
  8^[
  \shape #'((0.7 . 1.3) (0.2 . 1.1) (-0.1 . 0.7) (-0.2 . 0.4)) Slur 
  16_( a ) 8 ]
}

And just so you know, the << { ... }\\{ ... } >> implicitly applies 
\voiceOne and \voiceTwo, so those are unnecessary.

HTH,
Abraham




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Re: tie and slur problem

2014-10-28 Thread Rutger Hofman 
The following code works for me. It depends on two voices having the 
same predicate \voiceTwo. Note that you will probably want to tune the 
shape of the voiceTwo slur, it is wider than in your original.


\new Score {
\new Staff <<
\new Voice \relative c' {
\voiceOne
g'2.( bes4 |
a4)
}
\new Voice \relative c' {
\voiceTwo
c1~ |
c4
}
\new Voice \relative c' {
\voiceTwo
e1( |
f4)
}
>>
}

On 10/28/2014 02:33 PM, Urs Liska wrote:


Am 28.10.2014 09:42, schrieb Dr. Bernhard Kleine:

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

There should be a tie between the two c and a slur from e to f.  and a slur
from g  over b(bes) to a in the right hand. The upper g and b and a are in a 
separate voice and no problem.
But how to code the tie and the slur in voiceTwo? Between  to < c f>


You can force the slur to be printed upwards through either \slurUp (and
\slurNeutral afterwards) or the direction operator:

2 ^( ~  )


This won't look very good, though, so you will have to tweak the slur
later, presumably with \shape.
But it will give you a semantically correct rendering, and I strongly
suggest to let this untouched as long as possible (i.e. only start
tweaking when you either can't read the output at all or when you have
to produce better final output).


HTH
Urs




Schnipsel from Missa in C from Anton Bruckner

Bernhard


/
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Re: Big Music Font Update

2014-10-28 Thread Federico Bruni 
Il giorno mar 28 ott 2014 alle 0:04, tisimst 
 ha scritto:

Hey, Everyone!

I just thought I'd let you know that I've been busy with some more 
font
work. Head on over to  fonts.openlilylib.org 


to see what's new!

Here are the *highlights*:

- All fonts now have *WOFF font file support* in addition to OTF and 
SVG

(though, I admit, I'm not really sure how to use WOFF fonts)
- *Custom system brace fonts* for the following font families that 
match

their respective styles:
  * Beethoven
  * Gutenberg1939
  * Haydn
  * LilyJAZZ
  * Profondo
  * Ross
- Introduction of a new OFL font: */Improviso/* (a hand-copyist style)
- Updated stylesheets

Enjoy! And, as always, let me know if anything isn't working or 
incorrect :)




Hey Abraham, wonderful work!

I didn't have the time to try your fonts so far. I'm trying now but I 
can't find any minimal example in the website. All I have to do is 
adding a proper \paper block or there's more?

I see that the font is found by fontconfig but I'm getting this error:

fatal error: cannot find font: `haydn-11'

I'm using lilypond v2.19.15

BTW, why don't you make these fonts available through github's 
openlilylib? It would be easier to update and test.

If you want to encourage donations or bounties for your work:
http://blog.bountysource.com/post/48954271533/improved-github-integration-automatically-update


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Re: Big Music Font Update

2014-10-28 Thread tisimst 
Federico,

On Tue, Oct 28, 2014 at 4:11 PM, Federico Bruni [via Lilypond] 
 wrote:
> 
> Hey Abraham, wonderful work!
> 
> I didn't have the time to try your fonts so far. I'm trying now but I 
> can't find any minimal example in the website. All I have to do is 
> adding a proper \paper block or there's more?
> I see that the font is found by fontconfig but I'm getting this error:
> 
> fatal error: cannot find font: `haydn-11'
> 
> I'm using lilypond v2.19.15

You need to do two things:

1. Install the fonts in the correct LILYPOND font directory (NOT the 
system font directory)--see my instructions on the main page at 
fonts.openlilylib.org.

2. Use the following (minimal) syntax, for example, in your .ly file:

#(set-global-staff-size 16)  % this MUST come PRIOR to defining the 
fonts
\paper {
  #(define fonts
(set-global-fonts
#:music "haydn"
#:brace "haydn"
#:factor (/ staff-height pt 20)
))
}

I thought I made that pretty clear on the website, but perhaps I did 
not. I do make mistakes like that.

> BTW, why don't you make these fonts available through github's 
> openlilylib?It would be easier to update and test.

That was the original intention, but after some discussion with Urs, we 
felt that it would probably do better to have their own site to make it 
seem more "professional". 

See, it's more than just maintaining a font file because if you take 
the font files and edit them in FontForge (or any other font editor), 
then re-save them, they won't work with LilyPond because there is some 
internal data that FontForge gets rid of when you open the good files. 

I use a handful of build scripts that make the fonts work with 
LilyPond, and I maintain them personally. I also update all the example 
files that showcase the fonts on the website, so it is easier for me to 
just do it that way. There is still a proposition to maintain the font 
stylesheets on github's openlilylib repository, but I haven't gotten 
there yet.

> If you want to encourage donations or bounties for your work:
> http://blog.bountysource.com/post/48954271533/improved-github-integration-automatically-update
> 

That's very interesting! I've never heard of this... I'll definitely 
have to think about that :)

Let me know if I can help in any other way and thanks for the feedback!

HTH,
Abraham






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Re: Big Music Font Update

2014-10-28 Thread Federico Bruni 
Il giorno mar 28 ott 2014 alle 23:29, tisimst 
 ha scritto:

You need to do two things:

1. Install the fonts in the correct LILYPOND font directory (NOT the 
system font directory)--see my instructions on the main page at 
fonts.openlilylib.org.


Which is the lilypond font directory?
I though that LilyPond could use any font found by 'lilypond 
-dshow-available-fonts x'. haydn is listed by this command.



2. Use the following (minimal) syntax, for example, in your .ly file:

#(set-global-staff-size 16)  % this MUST come PRIOR to defining the 
fonts


This information is not present in the website, at least in the haydn 
page.



\paper {
  #(define fonts
(set-global-fonts
#:music "haydn"
#:brace "haydn"
#:factor (/ staff-height pt 20)
))
}


Can you attach a minimal file that works for you?
But probably my problem is with font detection...

I thought I made that pretty clear on the website, but perhaps I did 
not. I do make mistakes like that.


A simple example file to test would help a lot. So people know that if 
it's failing they know that they must tweak their settings and not the 
input file.


Thanks
Federico
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Re: Big Music Font Update

2014-10-28 Thread Stan Sanderson 
Yes, impressive work!

If using Frescobaldi (I can only speak for the Mac version), one  can install 
the fonts in the System/Library/Fonts file and access them by setting the path 
in Frescobaldi's Preferences. This works around the need to reinstall when 
updating LilyPond to a new version.

At least, it works for me.

Stan

> On Oct 28, 2014, at 5:29 PM, tisimst  wrote:
> 
> Federico,
> 
>> On Tue, Oct 28, 2014 at 4:11 PM, Federico Bruni [via Lilypond] <[hidden 
>> email]> wrote:
>> 
>> Hey Abraham, wonderful work!
>> 
>> I didn't have the time to try your fonts so far. I'm trying now but I can't 
>> find any minimal example in the website. All I have to do is adding a proper 
>> \paper block or there's more?
>> I see that the font is found by fontconfig but I'm getting this error:
>> 
>> fatal error: cannot find font: `haydn-11'
>> 
>> I'm using lilypond v2.19.15
> 
> You need to do two things:
> 
> 1. Install the fonts in the correct LILYPOND font directory (NOT the system 
> font directory)--see my instructions on the main page at 
> fonts.openlilylib.org.
> 
> 2. Use the following (minimal) syntax, for example, in your .ly file:
> 
> #(set-global-staff-size 16)  % this MUST come PRIOR to defining the fonts
> \paper {
>   #(define fonts
> (set-global-fonts
> #:music "haydn"
> #:brace "haydn"
> #:factor (/ staff-height pt 20)
> ))
> }
> 
> I thought I made that pretty clear on the website, but perhaps I did not. I 
> do make mistakes like that.
> 
>> BTW, why don't you make these fonts available through github's 
>> openlilylib?It would be easier to update and test.
> 
> That was the original intention, but after some discussion with Urs, we felt 
> that it would probably do better to have their own site to make it seem more 
> "professional". 
> 
> See, it's more than just maintaining a font file because if you take the font 
> files and edit them in FontForge (or any other font editor), then re-save 
> them, they won't work with LilyPond because there is some internal data that 
> FontForge gets rid of when you open the good files. 
> 
> I use a handful of build scripts that make the fonts work with LilyPond, and 
> I maintain them personally. I also update all the example files that showcase 
> the fonts on the website, so it is easier for me to just do it that way. 
> There is still a proposition to maintain the font stylesheets on github's 
> openlilylib repository, but I haven't gotten there yet.
> 
>> If you want to encourage donations or bounties for your work:
>> http://blog.bountysource.com/post/48954271533/improved-github-integration-automatically-update
> 
> 
> That's very interesting! I've never heard of this... I'll definitely have to 
> think about that :)
> 
> Let me know if I can help in any other way and thanks for the feedback!
> 
> HTH,
> Abraham
> 
> 
> View this message in context: Re: Big Music Font Update
> Sent from the User mailing list archive at Nabble.com.
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Re: Big Music Font Update

2014-10-28 Thread tisimst 
Federico,

Sorry for the confusion, but I'm pretty sure I said, "look on the MAIN page" 
(emphasis added). There are definitely installation instructions there. Just 
scroll down the page until you see it. I didn't feel like it would be necessary 
to repeat the instructions on every font page, but maybe I do. 

-Abraham

Sent from my iPhone

> On Oct 28, 2014, at 4:51 PM, Federico Bruni [via Lilypond] 
>  wrote:
> 
> Il giorno mar 28 ott 2014 alle 23:29, tisimst <[hidden email]> ha scritto:
>> You need to do two things:
>> 
>> 1. Install the fonts in the correct LILYPOND font directory (NOT the system 
>> font directory)--see my instructions on the main page at 
>> fonts.openlilylib.org.
> 
> Which is the lilypond font directory?
> I though that LilyPond could use any font found by 'lilypond 
> -dshow-available-fonts x'. haydn is listed by this command.
> 
>> 2. Use the following (minimal) syntax, for example, in your .ly file:
>> 
>> #(set-global-staff-size 16)  % this MUST come PRIOR to defining the fonts
> 
> This information is not present in the website, at least in the haydn page.
> 
>> \paper {
>>   #(define fonts
>> (set-global-fonts
>> #:music "haydn"
>> #:brace "haydn"
>> #:factor (/ staff-height pt 20)
>> ))
>> }
> 
> Can you attach a minimal file that works for you?
> But probably my problem is with font detection...
> 
>> I thought I made that pretty clear on the website, but perhaps I did not. I 
>> do make mistakes like that.
> 
> A simple example file to test would help a lot. So people know that if it's 
> failing they know that they must tweak their settings and not the input file.
> 
> Thanks
> Federico
> 
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Updated to LilyPond 2.18.02

2014-10-28 Thread keith Luke 
I just updated to LilyPond 2.18.02 and also installed the LilyJAZZ fonts.

Abraham's documentation on how to install new fonts was a great help.

Now to start engraving my new "Jazz" arrangements using LilyJAZZ.

Thanks,

Keith Luke
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Re: Updated to LilyPond 2.18.02

2014-10-28 Thread tisimst 
Keith,

Sounds awesome! When you've got something done, please let me know so I can 
showcase it on the website!

Happy Engraving,
Abraham

Sent from my iPhone

> On Oct 28, 2014, at 6:21 PM, keith Luke [via Lilypond] 
>  wrote:
> 
> I just updated to LilyPond 2.18.02 and also installed the LilyJAZZ fonts.
> 
> Abraham's documentation on how to install new fonts was a great help.
> 
> Now to start engraving my new "Jazz" arrangements using LilyJAZZ.
> 
> Thanks,
> 
> Keith Luke
> 
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Re: To many colliding ...

2014-10-28 Thread Keith OHara 
> From: "Dr. Bernhard Kleine"  gmx.net>
> I have added a file which shows the warning. It compiles but I would like 
> to know about the warning.
 
LilyPond complains when two voices have the same stem direction and no 
indication of which note-head to shift horizontally (in the style of 
Bach-era polyphony) to avoid the appearance of a chord.

If you want the appearance of a chord, then ignore the warning.
Be aware, though, that LilyPond is still interpreting your input as 
two voices, which just happen to overlap in print.  If the two voices
have eighth notes, there will be two flags, which look ugly in the
same direction. (Maybe the warning could help to remind people to check 
for this?)

If you want LilyPond to make a true chord, you can say 2 in one 
of the two voices.

Trevor Daniels  treda.co.uk> writes:
> It's due to the use of \stemUp and \stemDown commands. 
> Try to code your score without using them by assigning the notes to
> correct voices. 

Well, in the example the <<\\>> assigned default voices, but then 
there was some reason for wanting the \stemUp or \stemDown overrides. 
Using instead \voiceOne, bzw. \voiceTwo, is usually a good idea,
but in the example given an explicit \voiceTwo would ask for two voices 
both in \voiceTwo and LilyPond gives a warning.

It became clear that this warning did more harm than good.  Just one
month ago, we restricted it.  Now when we explicitly ask for \stemDown
or \voiceTwo on both voices, LilyPond sets the notes in the same column
without complaint.

Phil Holmes  philholmes.net> writes:
> GNU LilyPond 2.19.14
> Success: compilation successfully completed

Version 2.19.14 is the first 'development' (for testing) version where 
this warning has been removed.


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Re: Big Music Font Update

2014-10-28 Thread Federico Bruni 
Il giorno mer 29 ott 2014 alle 0:50, tisimst 
 ha scritto:
Sorry for the confusion, but I'm pretty sure I said, "look on the 
MAIN page" (emphasis added). There are definitely installation 
instructions there. Just scroll down the page until you see it. I 
didn't feel like it would be necessary to repeat the instructions on 
every font page, but maybe I do.


Ok, I got it. I shouldn't try new things at night...
I was in a hurry and I totally skipped the chapter "Patch Installation 
(requires LilyPond 2.18.2 - 2.19.11)", because I'm using 2.19.15, and 
that's where installation directory is explained for any version.


So the fonts must be copied again each time I upgrade to a new version 
of LilyPond.

I'll write a script to automate this.
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