date:20150125

I'm trying to typeset a fairly common 18th sign that looks a bit like an
extended prall but less jagged (see attached).
The \startTrillSpan would do at a pinch if I could get rid of the "tr"
at the start of it.
I don't see this in the docs - any help?

Richard

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Re: \startTrillSpan without the tr at the beginning?

Try :

\version "2.18.2"

{
  b'-\tweak bound-details.left.text #'() \startTrillSpan
  b' b'\stopTrillSpan
}

Pierre

2015-01-25 11:33 GMT+01:00 Richard Shann :

> I'm trying to typeset a fairly common 18th sign that looks a bit like an
> extended prall but less jagged (see attached).
> The \startTrillSpan would do at a pinch if I could get rid of the "tr"
> at the start of it.
> I don't see this in the docs - any help?
>
> Richard
>
>
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>
>
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Re: Learning Manual 2.18 2.41 Organizing pieces with variables

Hi Kevin,

see:
http://www.lilypond.org/doc/v2.18/Documentation/extending/lilypond-variables.html
Not enough time to go into details.

Cheers,
Pierre

2015-01-25 8:51 GMT+01:00 Kevin Tough :

> Hi Folks,
> I'm trying to get up to speed with variables but I am missing something
> obvious or the documentation is not clear.
>
> In the example the escaped \cm generates an escaped character not
> recognized error message. If I stick it in a layout block it is
> recognized. Then however the variable is not longer seen outside that
> scope.
>
> The use of the variable name "name" to hold the value "Wendy" causes a
> warning that "name" is a keyword.
>
> Here is my code...
>
> \version "2.18.2"
>
> \language "english"
>
> \layout {
>indent = 0.0\cm
>  % \omit Voice.StringNumber %defeat number display above treble staff
>   width = 4\cm
> }
>
> name = "Wendy"
> aFivePaper = \paper { paperheight = 21.0 \cm }
>
> % Now use these variables...
> \paper {
>   \aFivePaper
>   line-width = \width
> }
>
> {
>   c4^\name
> }
>
>
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Re: \startTrillSpan without the tr at the beginning?

2015-01-25 Thread pls

Or:

\version "2.19.11"
{
  \once\override TextSpanner.style = #'trill
  \time 3/4
  b' 
  \startTextSpan
  b' b'
  \stopTextSpan
}

hth
patrick
On 25.01.2015, at 12:03, Pierre Perol-Schneider 
 wrote:

> Try :
> 
> \version "2.18.2"
> 
> {
>   b'-\tweak bound-details.left.text #'() \startTrillSpan
>   b' b'\stopTrillSpan
> }
> 
> Pierre
> 
> 2015-01-25 11:33 GMT+01:00 Richard Shann :
> I'm trying to typeset a fairly common 18th sign that looks a bit like an
> extended prall but less jagged (see attached).
> The \startTrillSpan would do at a pinch if I could get rid of the "tr"
> at the start of it.
> I don't see this in the docs - any help?
> 
> Richard
> 
> 
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> 
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Re: Learning Manual 2.18 2.41 Organizing pieces with variables

2015-01-25 Thread Phil Holmes

- Original Message - 
From: "Kevin Tough" 

To: "LilypondMailingListGenUser" 
Sent: Sunday, January 25, 2015 7:51 AM
Subject: Learning Manual 2.18 2.41 Organizing pieces with variables

Hi Folks,
I'm trying to get up to speed with variables but I am missing something
obvious or the documentation is not clear.

In the example the escaped \cm generates an escaped character not
recognized error message. If I stick it in a layout block it is
recognized. Then however the variable is not longer seen outside that
scope.

The use of the variable name "name" to hold the value "Wendy" causes a
warning that "name" is a keyword.

That's because name is a keyword.  Try a word that isn't a keyword, like 
thisName, for example.

--
Phil Holmes 

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Re: \startTrillSpan without the tr at the beginning?

Thank you very much - Your first suggestion works perfectly. This second
suggestion (which I won't get to test until tomorrow) looks like the one
for this sort of score (moved and applied to the whole score), since the
default is never needed. With these hints I should be able to make
progress on the actual spanning zig-zag too...

Richard


On Sun, 2015-01-25 at 12:31 +0100, pls wrote:
> Or:
> 
> 
> \version "2.19.11"
> {
>   \once\override TextSpanner.style = #'trill
>   \time 3/4
>   b' 
>   \startTextSpan
>   b' b'
>   \stopTextSpan
> }
> 
> 
> hth
> patrick
> On 25.01.2015, at 12:03, Pierre Perol-Schneider
>  wrote:
> 
> > Try :
> > 
> > \version "2.18.2"
> > 
> > {
> >   b'-\tweak bound-details.left.text #'() \startTrillSpan
> >   b' b'\stopTrillSpan
> > }
> > 
> > 
> > Pierre
> > 
> > 
> > 2015-01-25 11:33 GMT+01:00 Richard Shann :
> > I'm trying to typeset a fairly common 18th sign that looks a
> > bit like an
> > extended prall but less jagged (see attached).
> > The \startTrillSpan would do at a pinch if I could get rid
> > of the "tr"
> > at the start of it.
> > I don't see this in the docs - any help?
> > 
> > Richard
> > 
> > 
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> > 
> > 
> > 
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> 
> 



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Re: staccato dots and slurs in second voice

2015-01-25 Thread Kieren MacMillan

Hi Werner,

This lovely collection of snippets reveals oh so many problems…  :)

1. The staccato dot should be directly at the end of the stem (see Gould, 
etc.), unless it’s part of a compound/multiple articulation.

2. Yes, the slur should behave as if there’s a beam present.

3. Yes, the slur should end at the dot.

4. No, the slur X-position shouldn’t increase.

5. If possible, the slur end-points should have similar padding (i.e., between 
slur and stem tip on one side, and slur and dot on the other).

Fun!
Kieren. 
___

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www:  
email:  i...@kierenmacmillan.info


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Re: Pianostaff 4-part writing and rests

2015-01-25 Thread Peter Danemo

Hello!

Thanks Kieren! I'll look in to the snippet link you sent. It'll probably 
require some understanding from my part. There's so many things with Lilypond 
that's so difficult. Especially for me without any experience at all in the 
type of workflow that Lilypond use. 

Best wishes!
P

Peter Danemo
Krukmakargatan 33 B
118 51 Stockholm
Tel: +46-70-653 21 91

> 24 jan 2015 kl. 22:55 skrev Kieren MacMillan :
> 
> Hi all,
> 
>> Lastly got this help from Marc Hohl:
>> http://lsr.di.unimi.it/LSR/Item?id=336
> 
> The linked issue (https://code.google.com/p/lilypond/issues/detail?id=1228) 
> currently has a status of “abandoned” — well, at least the associated patch 
> does, if not the whole issue.
> 
> Is there a technical reason why the most up-to-date engraver (e.g., 
> https://github.com/openlilylib/openlilylib/blob/c53380f5ca460d244a017389dc4bcb79a3f04d14/editorial-tools/merge-rests-engraver/definition.ily)
>  has not been (or cannot be) rolled into the main Lilypond codebase? Or is it 
> technically sound, and now it's only a matter of somebody making an 
> appropriate/official patch and submitting it?
> 
> The merged output is definitely standard engraving practice, so it would be 
> nice to see this enhancement in Lilypond, if the coding is already done (or 
> at least very close).
> 
> Thanks,
> Kieren.
> ___
> 
> Kieren MacMillan, composer
> www:  
> email:  i...@kierenmacmillan.info

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Re: Four Bars per Line/System, again :)

Experimenting with custom-line-breaks-engraver, I've found that it doesn't
work correctly if the number of bars to be printed per line exceeds 9, e.g. 
  
\consists #(custom-line-breaks-engraver '(10))

A 37 bar song comes out with 10, 10, 5, 5 and 7 bars per line, instead of
the expected 10, 10, 10 and 7.

Specifying (10 10 10 7) doesn't work either.

This isn't a real problem for me, as I usually use 4 bars to the line for
lead sheets (or 8 bars to the line if the notation is sparse and the song is
long).

I don't have any knowledge of Scheme to correct such a brilliantly useful
piece of work - it's going to save me hours of time messing about with
\noBreak and \break commands!



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Re: Four Bars per Line/System, again :)

2015-01-25 Thread tisimst

Michael,

On Sun, Jan 25, 2015 at 7:49 AM, Michael Hendry [via Lilypond] 
 wrote:
> Experimenting with custom-line-breaks-engraver, I've found that it 
> doesn't work correctly if the number of bars to be printed per line 
> exceeds 9, e.g.   \consists #(custom-line-breaks-engraver '(10)) 
> 
> A 37 bar song comes out with 10, 10, 5, 5 and 7 bars per line, 
> instead of the expected 10, 10, 10 and 7. 
> 
> Specifying (10 10 10 7) doesn't work either. 
> 
> This isn't a real problem for me, as I usually use 4 bars to the line 
> for lead sheets (or 8 bars to the line if the notation is sparse and 
> the song is long). 
> 
> I don't have any knowledge of Scheme to correct such a brilliantly 
> useful piece of work - it's going to save me hours of time messing 
> about with \noBreak and \break commands! 

I can't say I've used the custom-line-breaks-engraver, but whenever I 
need to engrave something particularly tight, I like to use the 
following two overrides:

\layout {
  \override Score.NonMusicalPaperColumn.line-break-permission = ##f
  \override Score.NonMusicalPaperColumn.page-break-permission = ##f
}

These force LilyPond to break only when YOU tell it to, via \break and 
\page Break. You may not need the page-break one.

HTH,
Abraham




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Re: \startTrillSpan without the tr at the beginning?

How about :

{
  b'-\tweak X-offset #.8
^\markup\pattern #6 #X #0 {
  \scale #'(1 . .6)
  \musicglyph #"scripts.trill_element"
}
  b' b'
}

Cheers,
Pierre

2015-01-25 13:57 GMT+01:00 Richard Shann :

> Thank you very much - Your first suggestion works perfectly. This second
> suggestion (which I won't get to test until tomorrow) looks like the one
> for this sort of score (moved and applied to the whole score), since the
> default is never needed. With these hints I should be able to make
> progress on the actual spanning zig-zag too...
>
> Richard
>
>
> On Sun, 2015-01-25 at 12:31 +0100, pls wrote:
> > Or:
> >
> >
> > \version "2.19.11"
> > {
> >   \once\override TextSpanner.style = #'trill
> >   \time 3/4
> >   b'
> >   \startTextSpan
> >   b' b'
> >   \stopTextSpan
> > }
> >
> >
> > hth
> > patrick
> > On 25.01.2015, at 12:03, Pierre Perol-Schneider
> >  wrote:
> >
> > > Try :
> > >
> > > \version "2.18.2"
> > >
> > > {
> > >   b'-\tweak bound-details.left.text #'() \startTrillSpan
> > >   b' b'\stopTrillSpan
> > > }
> > >
> > >
> > > Pierre
> > >
> > >
> > > 2015-01-25 11:33 GMT+01:00 Richard Shann :
> > > I'm trying to typeset a fairly common 18th sign that looks a
> > > bit like an
> > > extended prall but less jagged (see attached).
> > > The \startTrillSpan would do at a pinch if I could get rid
> > > of the "tr"
> > > at the start of it.
> > > I don't see this in the docs - any help?
> > >
> > > Richard
> > >
> > >
> > > ___
> > > lilypond-user mailing list
> > > lilypond-user@gnu.org
> > > https://lists.gnu.org/mailman/listinfo/lilypond-user
> > >
> > >
> > >
> > > ___
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> > > lilypond-user@gnu.org
> > > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> >
>
>
>
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Re: Order of contexts over staves

2015-01-25 Thread Phil Holmes

- Original Message - 
From: "Phil Holmes" 

To: ; "Keith OHara" 
Sent: Monday, January 19, 2015 2:45 PM
Subject: Re: Order of contexts over staves

- Original Message - 
From: "Keith OHara" 

To: 
Sent: Sunday, January 18, 2015 10:00 PM
Subject: Re: Order of contexts over staves

You could
 \new Staff \with {alignAboveContext = "dn" } ...
 \new Dynamics = "dn" ...

Thanks, Keith.  I should probably have worked that out myself, but a) 
wood/trees and b) thought there would be some sort of 
staff-priority-thingy which I was not aware of.

As it is, this fix is easily integrated into my NoteWorthy->LilyPond 
converter, so I can now do this automagically.

I am now using this mechanism, but for some reason it's not consistently 
placing the temporary staff above the top staff: I have a named staff, with 
a named Dynamics context above that, with dynamics present, showing above 
the staff, and a temporary staff created with

\new Staff  \with {
 alignAboveContext = #"Dyn"
}

But on occasion, the temporary staff is still created _below_ the main 
staff.  As it's not consistent it's difficult to cut down fully, but is 
there a way of displaying where the various contexts are placed so I can try 
to see what's going on?

--
Phil Holmes 

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Re: Four Bars per Line/System, again :)

> On 25 Jan 2015, at 15:15, tisimst [via Lilypond] 
>  wrote:
> 
> Michael,
> 
> On Sun, Jan 25, 2015 at 7:49 AM, Michael Hendry [via Lilypond] <[hidden 
> email] > wrote:
>> Experimenting with custom-line-breaks-engraver, I've found that it doesn't 
>> work correctly if the number of bars to be printed per line exceeds 9, e.g.  
>>  \consists #(custom-line-breaks-engraver '(10)) 
>> 
>> A 37 bar song comes out with 10, 10, 5, 5 and 7 bars per line, instead of 
>> the expected 10, 10, 10 and 7. 
>> 
>> Specifying (10 10 10 7) doesn't work either. 
>> 
>> This isn't a real problem for me, as I usually use 4 bars to the line for 
>> lead sheets (or 8 bars to the line if the notation is sparse and the song is 
>> long). 
>> 
>> I don't have any knowledge of Scheme to correct such a brilliantly useful 
>> piece of work - it's going to save me hours of time messing about with 
>> \noBreak and \break commands! 
> 
> I can't say I've used the custom-line-breaks-engraver, but whenever I need to 
> engrave something particularly tight, I like to use the following two 
> overrides:
> 
> \layout {
>   \override Score.NonMusicalPaperColumn.line-break-permission = ##f
>   \override Score.NonMusicalPaperColumn.page-break-permission = ##f
> }
> 
> These force LilyPond to break only when YOU tell it to, via \break and \page 
> Break. You may not need the page-break one.
> 
> HTH,
> Abraham
> 
> 
> If you reply to this email, your message will be added to the discussion 
> below:
> http://lilypond.1069038.n5.nabble.com/Four-Bars-per-Line-System-again-tp45952p170972.html
>  
> 
> To unsubscribe from Four Bars per Line/System, again :), click here 
> .
> NAML 
> 
Thanks, Abraham.

I’ll keep these layout overrides in my stock of “will-be-useful” stuff!

The attraction of custom-line-breaks-engraver for me is that I can enter the 
various parts of a song as variables and once I’ve ironed out any errors I can 
leave them alone, perhaps even store them as separate files.

This modular structure allows me to separate the production of various printed 
versions from the entry of the music itself, and means proof-reading of the 
notes (as opposed to the layout) only has to be done once.

I mostly play jazz from leadsheets, but I also help out with accompaniments for 
Christmas carols and Burns Suppers where the ability to print out copies in 
different keys is handy, and a single sheet with melody, chords and lyrics is 
ideal.

Michael



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Re: \startTrillSpan without the tr at the beginning?

On Sun, 2015-01-25 at 17:20 +0100, Pierre Perol-Schneider wrote:
> {
>   b'-\tweak X-offset #.8 
> ^\markup\pattern #6 #X #0 { 
>   \scale #'(1 . .6) 
>   \musicglyph #"scripts.trill_element" 
> } 
>   b' b' 
> } 

hmm, interesting - I had to look \pattern up, I hadn't seen that one
before. But this sort of solution, (not involving spanning) is not so
attractive as overriding the drawing of the \startTrillSpan for this
situation, where there could be line breaks etc.

Richard

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Re: Need to suppress bar number checking in midi block

Does anyone have a solution for this issue?

Like Michael Ellis, I like to use both "|" and \barNumberCheck to pick up
rhythm errors and missing or duplicated bar that I've made, and I use MIDI
output to pick up wrong notes in my transcriptions.

I can usually pick out the erroneous \barNumberCheck warnings because the
bar number reported usually exceeds the number of bars in the piece, but I
prefer to see no error messages.

Temporarily disabling MIDI output also works, but I'd prefer to leave
working code alone, and not be constantly commenting it out and then back in
again.



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Re: Four Bars per Line/System, again :)

Hi Michael,

On Sun, Jan 25, 2015 at 10:38 AM, Michael Hendry 
wrote:

> On 25 Jan 2015, at 15:15, tisimst [via Lilypond] <[hidden email]
> > wrote:
>
> Michael,
>
> On Sun, Jan 25, 2015 at 7:49 AM, Michael Hendry [via Lilypond] < href="x-msg://45/user/SendEmail.jtp?type=node&node=170972&i=0"
> target="_top" rel="nofollow" link="external" class="">[hidden email]> wrote:
>
> Experimenting with custom-line-breaks-engraver, I've found that it doesn't
> work correctly if the number of bars to be printed per line exceeds 9, e.g.
>   \consists #(custom-line-breaks-engraver '(10))
>
> A 37 bar song comes out with 10, 10, 5, 5 and 7 bars per line, instead of
> the expected 10, 10, 10 and 7.
>
> Specifying (10 10 10 7) doesn't work either.
>
> (If you use the overrides described below, you will need to specify your
song fully like the above.)


>
> This isn't a real problem for me, as I usually use 4 bars to the line for
> lead sheets (or 8 bars to the line if the notation is sparse and the song
> is long).
>
> I don't have any knowledge of Scheme to correct such a brilliantly useful
> piece of work - it's going to save me hours of time messing about with
> \noBreak and \break commands!
>
>
> I can't say I've used the custom-line-breaks-engraver, but whenever I need
> to engrave something particularly tight, I like to use the following two
> overrides:
>
> \layout {
>   \override Score.NonMusicalPaperColumn.line-break-permission = ##f
>   \override Score.NonMusicalPaperColumn.page-break-permission = ##f
> }
>
> These force LilyPond to break only when YOU tell it to, via \break and
> \page Break. You may not need the page-break one.
>
> Yes, exactly.  There is a note to this effect in the snippet description
of this engraver found here: http://lsr.di.unimi.it/LSR/Item?id=838. In the
code, there are commented-out lines which demonstrate the overrides needed
for forcing your wishes on LilyPond when the program considers the result
too cramped.

Hope this helps,
David.
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Re: staccato dots and slurs in second voice

Hi,

On Sun, Jan 25, 2015 at 8:39 AM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Werner,
>
> This lovely collection of snippets reveals oh so many problems…  :)
>
> 1. The staccato dot should be directly at the end of the stem (see Gould,
> etc.), unless it’s part of a compound/multiple articulation.
>

This situation with staccato dots is more complex, however.  Gould says:
"Staccato dots and wedges by themselves look best centred on a stem ...
although many editions do centre them on the notehead" (118).

--David
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Tag problem

2015-01-25 Thread Cynthia Karl

I'm confused about the "Using tags" subsection of section "3.3.2 Different 
editions from one source":

> Known issues and warnings

> Calling \relative on a music expression obtained by filtering music through 
> \keepWithTag or
> \removeWithTag might cause the octave relations to change, as only the 
> pitches actually remaining
> in the filtered expression will be considered. Applying \relative first, 
> before \keepWithTag
> or \removeWithTag, avoids this danger as \relative then acts on all the 
> pitches as-input.

Consider the following snippet:

\version "2.19.15"
\header { tagline = ##f }

music = {
  \tag #'one {c d e f}
  \tag #'two {c' d e f}
  f e d c
}

\keepWithTag #'one {\relative c' \music}
\keepWithTag #'two {\relative c''\music}

\relative c' {\keepWithTag #'one \music}
\relative c' {\keepWithTag #'two \music}

which produces:



tag_problem.pdf
Description: Adobe PDF document


It seems to me that the first output is wrong,and that the problem is fixed by 
disregarding the Known issues and warning section and applying \relative to the 
music after filtering it with \keepWithTag.  Or is the thinking of "{a}pplying 
\relative first" is not meant temporally, but in some other sense.

Is there a way to get correct output from music?  I consider the 3rd and 4th 
outputs to be correct.  (Maybe that's the problem?  If so, is there a way to 
get the last two outputs using tags? and not duplicating the line "f e d c"?)


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Re: Four Bars per Line/System, again :)

Of course - I should have spotted that!

Interesting, though that with the override commented out I can get 9 bars
per line, but if I exceed that by one I get 10, 10, 5, 5, 7, and the lines
with 5 bars in them are sparsely filled - they could easily be 8 or 9.

Many thanks - I missed the RTFM instruction...



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Re: \startTrillSpan without the tr at the beginning?

On Sun, 2015-01-25 at 12:03 +0100, Pierre Perol-Schneider wrote:
> Try :
> 
> \version "2.18.2"
> 
> {
>   b'-\tweak bound-details.left.text #'() 

I've started to look more deeply to see if the sharp zig-zag line could
be replaced by a user-defined line. I found this

8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
http://lilypond.org/doc/v2.18/Documentation/internals/trillspanner

 stencil (stencil):

ly:line-spanner::print

The symbol to print. 
8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
This sounds strange - I would guess stencil is a procedure not a glyph
(? what would symbol mean here?) - and indeed the next entry on that
page is
8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
 style (symbol):

'trill

This setting determines in what style a grob is typeset. Valid
choices depend on the stencil callback reading this property. 
8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><

Is it on the cards to write some scheme procedure that stencil could be
set to in order generate a more wavy line?

Richard

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Re: Four Bars per Line/System, again :)

Hi Michael,

On Sun, Jan 25, 2015 at 1:00 PM, Michael Hendry 
wrote:

> Of course - I should have spotted that!
>
> Interesting, though that with the override commented out I can get 9 bars
> per line, but if I exceed that by one I get 10, 10, 5, 5, 7, and the lines
> with 5 bars in them are sparsely filled - they could easily be 8 or 9.
>

This would be an issue of LilyPond's aesthetic decisions, rather than
anything to do with the engraver.  You might try fooling around with
altering the horizontal spacing and seeing how this affects the result.
You can specify more packed spacing, and that might enable you to get the
result you're looking for without the override in the snippet. There's
another snippet on openlilylib which facilitates this:
https://github.com/openlilylib/openlilylib/tree/master/notation-snippets/adjust-horizontal-spacing

>
> Many thanks - I missed the RTFM instruction...
>

No problem :)
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Re: instrumentSwitch and addInstrumentDefinition use

2015-01-25 Thread Keith OHara


On Tue, 20 Jan 2015 08:51:13 -0800, Kieren MacMillan 
 wrote:


2. What would be required so that the \bar "||” \key \default stuff could be 
avoided


It is awkward to make this happen with an add-on to current LilyPond.
Jan-Peter took the approach of watching for transposition changes in his 
autoTranspose engraver, to try generate key-change events in time for the 
Key_engraver to see, but I don't think this works yet.

If we can find the time to teach LilyPond to optionally print written pitches, 
given concert-pitch input without needing the explicit \transpose{} that we use 
now, we /could/ teach the Key_engraver to optionally generate the key-changes.  
(Then we will want a modifying option to omit the key-change, for traditional 
horn parts.)


3. In a perfect world, either \instrumentSwitch would take two music expressions
(i.e., one for the “prep” period, one for the “playing” period), or there would 
be
an \instrumentPrep macro — primarily to deal with the markup activities (e.g.,
“take clarinet”), but possibly for other things.


I would rather break free of the \instrumentSwitch structure, and define 
variables to do exactly what I want

prepClarinet {
   \set Staff.shortInstrumentName = \markup\concat {"B"\flat " Cl"}
   <>^\markup\italic { "muta in B"\flat } }

takeClarinet {
   \set Staff.printTransposition = bes
   \tag#'part {
  \once\set Staff.whichBar="||"
  \key\default
  <>^\markup\small\bold\concat { "Cl. in B"\flat } }}

and variables that can go in their own sequence separate from the notes, if you 
like
MarysArragement = {\key c\major s1*32 \prepClarinet  s1*4 \takeClarinet s1*32}
...
<<\MarysArrangement \reedIINotes >>


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Re: Order of contexts over staves

2015-01-25 Thread Keith OHara


On Sun, 25 Jan 2015 08:37:16 -0800, Phil Holmes  wrote:


is
there a way of displaying where the various contexts are placed so I can try
to see what's going on?


I don't know of any built-in option that will help with this,
but you could temporarily ask LilyPond to draw Dynamics with one staff-line

\layout { \context { \Dynamics
 \consists Staff_symbol_engraver
 \override StaffSymbol.line-count = 1 } }


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Re: \startTrillSpan without the tr at the beginning?

Try:

{
  b'-\tweak style #'zigzag \startTextSpan
  b' b'
  \stopTextSpan
}

Pierre

2015-01-25 20:14 GMT+01:00 Richard Shann :

> On Sun, 2015-01-25 at 12:03 +0100, Pierre Perol-Schneider wrote:
> > Try :
> >
> > \version "2.18.2"
> >
> > {
> >   b'-\tweak bound-details.left.text #'()
>
> I've started to look more deeply to see if the sharp zig-zag line could
> be replaced by a user-defined line. I found this
>
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
> http://lilypond.org/doc/v2.18/Documentation/internals/trillspanner
>
>  stencil (stencil):
>
> ly:line-spanner::print
>
> The symbol to print.
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
> This sounds strange - I would guess stencil is a procedure not a glyph
> (? what would symbol mean here?) - and indeed the next entry on that
> page is
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
>  style (symbol):
>
> 'trill
>
> This setting determines in what style a grob is typeset. Valid
> choices depend on the stencil callback reading this property.
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
>
> Is it on the cards to write some scheme procedure that stencil could be
> set to in order generate a more wavy line?
>
>
> Richard
>
>
>
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Re: staccato dots and slurs in second voice

2015-01-25 Thread Kieren MacMillan

Hi David,

> This situation with staccato dots is more complex, however.  Gould says: 
> "Staccato dots and wedges by themselves look best centred on a stem ... 
> although many editions do centre them on the notehead" (118).

Good point.
Perhaps it could/should be a parameter?

Thanks,
Kieren.
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www:  
email:  i...@kierenmacmillan.info


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Re: Four Bars per Line/System, again :)

Thanks, David.

I'm very much at the stage of using example files and modifying them so that
they work for me as far as Lilypond is concerned - and can't even plod
through your Scheme function definition to work out what it's doing!

4 bars per line or 8 bars per line will do everything I want - the reason I
started investigating further is that the...

\repeat unfold 3 {
  s1 \noBreak s1 \noBreak s1 \noBreak s1 \break }

...trick I'd been using up to now had caused a problem with the leadsheet
for a song I was working on - it produced an extra blank stave, which I
couldn't get rid of until I came across your function.

Any chance of your documenting its inner workings for a Scheme virgin?



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Re: staccato dots and slurs in second voice

Hi Kieren,

On Sun, Jan 25, 2015 at 1:54 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi David,
>
> > This situation with staccato dots is more complex, however.  Gould says:
> "Staccato dots and wedges by themselves look best centred on a stem ...
> although many editions do centre them on the notehead" (118).
>
> Good point.
> Perhaps it could/should be a parameter?
>
>
Certainly.  I've been thinking about this situation.  The difficulty is
that the X-offset of the staccato dot (Script) is set independently of the
ScriptColumn, of which it has no knowledge (i.e., a pointer).  This makes
"position yourself this way unless there are simultaneous articulations"
impossible at the moment.  I'd like to find another solution besides the
workaround engraver found here:
http://lists.gnu.org/archive/html/bug-lilypond/2012-05/msg00098.html.

--David
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Re: Pianostaff 4-part writing and rests

2015-01-25 Thread Keith OHara

Kieren MacMillan  sympatico.ca> writes:

> The linked issue (https://code.google.com/p/lilypond/issues/detail?
id=1228) currently has a
> status of “abandoned” — well, at least the associated patch does, if not 
the whole issue.
> 
> Is there a technical reason why the most up-to-date engraver (e.g.,
> https://github.com/openlilylib/openlilylib/blob/
c53380f5ca460d244a017389dc4bcb79a3f04d14/editorial-tools/merge-rests-
engraver/definition.ily)
> has not been (or cannot be) rolled into the main Lilypond codebase? Or is 
it technically sound, and now it's
> only a matter of somebody making an appropriate/official patch and 
submitting it?
> 

The latest code looks reasonable.  It needs testing and somebody willing
to potentially modify it to cooperate with the rest of the code.
It sets merged rests to staff-position 0, so it might interfere in 
mysterious ways people setting their rests by hand... the automated
testing reveals things like this.

It is a layer over the existing rest_collision_engraver, so either we
check that each layer has a distinct-enough job that they won't confuse
each other, or integrate the two rest-collision engravers into one.

I never looked at this patch because from the issue title 
 "\override RestCollision #'positioning-done = #merge-rests-on-positioning" 
I didn't recognize what problem it was trying to solve, even though I am
often annoyed by that problem.
I'll try to change the title and add an example of what we want it to do.
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Re: Four Bars per Line/System, again :)

Hi Michael,

On Sun, Jan 25, 2015 at 2:11 PM, Michael Hendry 
wrote:

> Thanks, David.
>
> I'm very much at the stage of using example files and modifying them so
> that
> they work for me as far as Lilypond is concerned - and can't even plod
> through your Scheme function definition to work out what it's doing!
>
> 4 bars per line or 8 bars per line will do everything I want - the reason I
> started investigating further is that the...
>
> \repeat unfold 3 {
>   s1 \noBreak s1 \noBreak s1 \noBreak s1 \break }
>
> ...trick I'd been using up to now had caused a problem with the leadsheet
> for a song I was working on - it produced an extra blank stave, which I
> couldn't get rid of until I came across your function.
>
> Any chance of your documenting its inner workings for a Scheme virgin?
>
>
Hmm..  the bars-per-line-engraver could use a comment of two explaining
what it's doing.  Horizontal spacing is controlled by "paper columns"
(PaperColumn and NonMusicalPaperColumn).   For line-breaking I'm interested
in NonMusicalPaperColumns, because those are associated with line
beginnings and endings.  They have a property called
'line-break-permission, set to 'allow by default.  Setting this property to
'force creates a line break.  (Well, if LilyPond decides it's a reasonable
break--unless you use the override discussed earlier in the thread.)  So,
this engraver changes the 'line-break-permission property to 'force to
achieve the proper measures per line.  (By the way, there's an
enhancement--not sure if it made it out of a private thread--which sets
bars per line and systems per page.  I'll have to look around.)

Now as far as what a "Scheme engraver" is, I'm hoping to create some sort
of tutorial on the Scores of Beauty site.  Could be a while, though!  I
will say, though, that if you want an intro to Scheme you should definitely
start with the Extending manual.  That would be more helpful than trying to
tease out this engraver (which is a bit obscure).

--David
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Re: Pianostaff 4-part writing and rests

2015-01-25 Thread Urs Liska



Am 25. Januar 2015 21:19:26 MEZ, schrieb Keith OHara :
>Kieren MacMillan  sympatico.ca> writes:
>
>> The linked issue (https://code.google.com/p/lilypond/issues/detail?
>id=1228) currently has a
>> status of “abandoned” — well, at least the associated patch does, if
>not 
>the whole issue.
>> 
>> Is there a technical reason why the most up-to-date engraver (e.g.,
>> https://github.com/openlilylib/openlilylib/blob/
>c53380f5ca460d244a017389dc4bcb79a3f04d14/editorial-tools/merge-rests-
>engraver/definition.ily)
>> has not been (or cannot be) rolled into the main Lilypond codebase?
>Or is 
>it technically sound, and now it's
>> only a matter of somebody making an appropriate/official patch and 
>submitting it?
>> 
>
>The latest code looks reasonable.  It needs testing and somebody
>willing
>to potentially modify it to cooperate with the rest of the code.
>It sets merged rests to staff-position 0, so it might interfere in 
>mysterious ways people setting their rests by hand... the automated
>testing reveals things like this.
>
>It is a layer over the existing rest_collision_engraver, so either we
>check that each layer has a distinct-enough job that they won't confuse
>each other, or integrate the two rest-collision engravers into one.
>
>I never looked at this patch because from the issue title 
>"\override RestCollision #'positioning-done =
>#merge-rests-on-positioning" 
>I didn't recognize what problem it was trying to solve, even though I
>am
>often annoyed by that problem.
>I'll try to change the title and add an example of what we want it to
>do.

That would be great. It would be a goid thing if LilyPond would do the right 
thing here without the awkward workarounds.

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Re: staff polyphony, collisions between ties and beams

2015-01-25 Thread Stefan Thomas

Dear Trevor,
thanks for Your proposal.
It looks much better and I will find the right settings!

2015-01-25 10:27 GMT+01:00 Trevor Daniels :

>  Hi Stephan
>
> I think it's a matter of finding the least-ugly arrangement which make it
> clear to the pianist what is intended.  Perhaps lower the beams slight and
> move the tuplet brackets up a little to make room for the ties.  You could
> reshape the ties a little, but I don't think this improves it much.  Play
> with this:
>
> \version "2.18.2"
> first = {
> %  \shape #'((0 . 0) (0 . 0.5) (0 . 0.5) (0 . 0)) Tie
>   cis1  ~ cis1  ~ cis\fermata \bar"|."  }
>
>  second = {
>\voiceTwos2
>\voiceThree
>\override TupletBracket padding = 1.7
>\override Beam positions = #'(4.8 . 4.8)
>\tuplet 3/2 { a'''8 a''' a''' }  \tuplet 3/2 { a'''\rest[
> a''' a'''\rest] }
>  d''4\rest  \tuplet 3/2 { e'''8\rest a''' a''' } \tuplet 3/2 { a'''[
> a'''\rest a'''] }   e'''4\rest
>
>  }
>  third = {   \ottava #1  \voiceThree  f'''2 \rest   \voiceFour   fis'''2
> ~  fis'''1  ~ fis'''\fermata  }
>
>  alltogether = {
> << {   \voiceOne \first  } \new Voice { \second } \new Voice { \third }
> \new Voice { \voiceFour \transpose c' c \first } >> \oneVoice
>  }
>
>  \score {
>  \new Staff \alltogether
>  }
>
> - Original Message -
> *From:* Stefan Thomas 
> *To:* lilypond-user 
> *Sent:* Sunday, January 25, 2015 8:46 AM
> *Subject:* staff polyphony, collisions between ties and beams
>
>  Dear community,
> I find it difficult to engrave the following three bars.
> How can I avoid collisions between beams and ties?
> Here is the snippet:
>
> \version "2.18.2"
> first = {  cis1  ~ cis1  ~ cis\fermata \bar"|."  }
>
>  second = {
>\voiceTwos2
>\voiceThree \tuplet 3/2 { a'''8 a''' a''' }  \tuplet 3/2 { a'''\rest[
> a''' a'''\rest] }
>  d''4\rest  \tuplet 3/2 { e'''8\rest a''' a''' } \tuplet 3/2 { a'''[
> a'''\rest a'''] }   e'''4\rest
>
>  }
>  third = {   \ottava #1  \voiceThree  f'''2 \rest   \voiceFour   fis'''2
> ~  fis'''1  ~ fis'''\fermata  }
>
>  alltogether = {
> << {   \voiceOne \first  } \new Voice { \second } \new Voice { \third }
> \new Voice { \voiceFour \transpose c' c \first } >> \oneVoice
>  }
>
>  \score {
>  \new Staff \alltogether
>  }
>
> --
>
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kind of gregorian/ moving noteheads

2015-01-25 Thread Rita Composer

Dear Developers!

In my opinion one of the best music notation software is Lily! It is easy
to use for several music style.
I am Franciscan nun. I deal with church music. I can use Lily for several
notation also Gregorian music. Thank you!

At home (Hungary) there is a special notation for easy Gregorian music. It
use ordinary 5 staff system with some special noteheads. When I use
melismas I have to be able to put several noteheads next to eachother. In
many times I have to put stems and other lines between these noteheads. But
usually is should be without stems.

I tried with the following method: \override NoteHead #'extra-offset =
#'(-5.5 . 0) a4.

But it is difficult to use with several noteheads.

There is an example for easy greg music that how its should be look alike:
https://drive.google.com/file/d/0B745ugBBMgJ-UDFsZUtNaUdOWFBiR1JRQUVjdFJXMDBCam1Z/view?usp=sharing

Here is my attempts in Lilypond, plus I tried to show my problem visually :
https://drive.google.com/file/d/0B745ugBBMgJ-Z0wyNklaSUs2Q2NVamVHNXMyZHIxWGl4cVNJ/view?usp=sharing

One of my friends suggested that a font type might be helpful to developers:

He wrote "here is notation for this easy Gregorian music. This is a WYSIWYG
editor, and we can manually type the music in the editor by a code table.
It is awful to use. It is not good to use more voices. It would be great to
use this notation in Lilypond.

This is the webpage of this notation (unfortunately Hungarian):
http://egyhazzene.hu/letoltesek-linkek/guido-betukeszlet/

here the font set for English keyboard:
http://egyhazzene.hu/wp-content/uploads/2013/01/guidoen_.zip
here the code table (only works after installing font set):
http://egyhazzene.hu/wp-content/uploads/2013/01/guidoen_kod.pdf
"

I guess it would be engough if I were able to put several noteheads next to
eachother. Together with all of the components of that note (ledger line/
dot/ lyrics)

Thank you very much!

Sister Judit
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Re: Need to suppress bar number checking in midi block

2015-01-25 Thread Thomas Morley

2015-01-25 17:52 GMT+01:00 Michael Hendry :
> Does anyone have a solution for this issue?
>
> Like Michael Ellis, I like to use both "|" and \barNumberCheck to pick up
> rhythm errors and missing or duplicated bar that I've made, and I use MIDI
> output to pick up wrong notes in my transcriptions.
>
> I can usually pick out the erroneous \barNumberCheck warnings because the
> bar number reported usually exceeds the number of bars in the piece, but I
> prefer to see no error messages.
>
> Temporarily disabling MIDI output also works, but I'd prefer to leave
> working code alone, and not be constantly commenting it out and then back in
> again.



Maybe:

mymusic = {
  \time 4/4
  \repeat volta 2 {
g'1
\barNumberCheck #2
  }
  c'1
  \displayMusic
  \barNumberCheck #3
}

\book {
  \score {
 \mymusic
 \layout {}
  }
  \score {
 { \unfoldRepeats \set Score.currentBarNumber = #1 \mymusic }
 \midi {}
  }
}

No idea why it's needed or why it works at all.

Cheers,
  Harm

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Re: Need to suppress bar number checking in midi block

2015-01-25 Thread Thomas Morley

2015-01-26 0:20 GMT+01:00 Thomas Morley :
> 2015-01-25 17:52 GMT+01:00 Michael Hendry :
>> Does anyone have a solution for this issue?
>>
>> Like Michael Ellis, I like to use both "|" and \barNumberCheck to pick up
>> rhythm errors and missing or duplicated bar that I've made, and I use MIDI
>> output to pick up wrong notes in my transcriptions.
>>
>> I can usually pick out the erroneous \barNumberCheck warnings because the
>> bar number reported usually exceeds the number of bars in the piece, but I
>> prefer to see no error messages.
>>
>> Temporarily disabling MIDI output also works, but I'd prefer to leave
>> working code alone, and not be constantly commenting it out and then back in
>> again.
>
>
>
> Maybe:
>
> mymusic = {
>   \time 4/4
>   \repeat volta 2 {
> g'1
> \barNumberCheck #2
>   }
>   c'1
>   \displayMusic
^^^
delete this line ofcourse
>   \barNumberCheck #3
> }
>
> \book {
>   \score {
>  \mymusic
>  \layout {}
>   }
>   \score {
>  { \unfoldRepeats \set Score.currentBarNumber = #1 \mymusic }
>  \midi {}
>   }
> }
>
> No idea why it's needed or why it works at all.
>
> Cheers,
>   Harm

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Re: staccato dots and slurs in second voice

On Sun, Jan 25, 2015 at 2:15 PM, David Nalesnik 
wrote:

> Hi Kieren,
>
> On Sun, Jan 25, 2015 at 1:54 PM, Kieren MacMillan <
> kieren_macmil...@sympatico.ca> wrote:
>
>> Hi David,
>>
>> > This situation with staccato dots is more complex, however.  Gould
>> says: "Staccato dots and wedges by themselves look best centred on a stem
>> ... although many editions do centre them on the notehead" (118).
>>
>> Good point.
>> Perhaps it could/should be a parameter?
>>
>>
> Certainly.  I've been thinking about this situation.  The difficulty is
> that the X-offset of the staccato dot (Script) is set independently of the
> ScriptColumn, of which it has no knowledge (i.e., a pointer).  This makes
> "position yourself this way unless there are simultaneous articulations"
> impossible at the moment.
>

Looks like it's not a problem giving a Script a pointer to a ScriptColumn
grob.  Will investigate if I can modify the X-offset callback for Script to
deal with the staccato situation.

--David
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Re: staccato dots and slurs in second voice

Hi,

On Sun, Jan 25, 2015 at 5:50 PM, David Nalesnik 
wrote:

>
>
> On Sun, Jan 25, 2015 at 2:15 PM, David Nalesnik 
> wrote:
>
>> Hi Kieren,
>>
>> On Sun, Jan 25, 2015 at 1:54 PM, Kieren MacMillan <
>> kieren_macmil...@sympatico.ca> wrote:
>>
>>> Hi David,
>>>
>>> > This situation with staccato dots is more complex, however.  Gould
>>> says: "Staccato dots and wedges by themselves look best centred on a stem
>>> ... although many editions do centre them on the notehead" (118).
>>>
>>> Good point.
>>> Perhaps it could/should be a parameter?
>>>
>>>
>> Certainly.  I've been thinking about this situation.  The difficulty is
>> that the X-offset of the staccato dot (Script) is set independently of the
>> ScriptColumn, of which it has no knowledge (i.e., a pointer).  This makes
>> "position yourself this way unless there are simultaneous articulations"
>> impossible at the moment.
>>
>
> Looks like it's not a problem giving a Script a pointer to a ScriptColumn
> grob.  Will investigate if I can modify the X-offset callback for Script to
> deal with the staccato situation.
>
>
It's definitely possible!  Using a pointer to a ScriptColumn, the X-offset
callback for Script can be modified to (1) center staccatos over the stem
if no other articulations are present; (2) center them over the note head
if multiple articulations are present.  I'll go over this some more, and if
all goes well I should have a patch up for discussion.

Best,
David
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repeat, alternative, partial and full bar

2015-01-25 Thread Ali Cuota

Hello,

I wonder how to codify correctly this minimal example:

\relative c' {
\partial 8
\repeat volta 2 { d8 d4 d8 d }
\alternative { { d4. s8 } { d2 } }
d8 d8 d8 d8 d2
}

the s8 is here to fullfill the bar, but take some space and should
not. Is there a better way?

Thanks in advance!

Franck

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Re: staccato dots and slurs in second voice

2015-01-25 Thread Jay Anderson

On Sun, Jan 25, 2015 at 5:14 PM, David Nalesnik
 wrote:
> It's definitely possible!  Using a pointer to a ScriptColumn, the X-offset
> callback for Script can be modified to (1) center staccatos over the stem if
> no other articulations are present; (2) center them over the note head if
> multiple articulations are present.  I'll go over this some more, and if all
> goes well I should have a patch up for discussion.

>From another recent message:
http://lists.gnu.org/archive/html/lilypond-user/2015-01/msg00509.html.
Is toward-stem-shift not the right thing to change instead of
X-offset?

Making something like this the default behavior would be great (the
above I think is a modified version of something you, David, created
in the past). The current lilypond default of 0.5 for toward-stem-shif
for staccato doesn't make much sense to me. A fix for this should also
take into account other articulations that behave like staccato
(staccatissimo, stopped (I've seen this one both ways), etc.)

-Jay

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sus7 chords in \chordmode

2015-01-25 Thread Tim McNamara

I have repeatedly run into difficulties getting Lilypond to properly render 
sus7 chord names in \chordmode.  It comes up with silly things like "G7sus4 3” 
and the like.  What is the correct syntax to get a simple “Gsus7” to print?  
I’ve tried every combination I can think of.  

(By the way, I am also using the pop-chords exception list as I don’t like the 
Ignatzek standard that is the default in Lilypond).
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CHanging key.size, accidental.size and stem.size in gregorianMusic

2015-01-25 Thread Ali Cuota

Hello,

I use these settings now, since this fits in the whole book (using
\include's and a mix of gregorian and western-traditional-notation).

But the size of Keys, accidentals and stems doesnt fit, and I dont
find how to override these...

(also #(layout-set-staff-size xx) doesnt have any effect)

Thanks in advance,

Franck

\version "2.18.0"
\include "gregorian.ly"
\score {
  <<
\new VaticanaVoice = "cantus" {
  \override Staff.StaffSymbol.color = #black
  \override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
  \override NoteHead.font-size = #4
  \clef "vaticana-do3"
  % here the music
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto "cantus"
{
here the text
}
  >>
  \layout {
  ragged-last = ##f
  \context {
  \Score
  \override SpacingSpanner.packed-spacing = ##t
  }
  \context {
  \Lyrics
  \override LyricText #'font-size = #1
  }
  }
}

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Re: sus7 chords in \chordmode

2015-01-25 Thread Thomas Morley

2015-01-26 2:18 GMT+01:00 Tim McNamara :
> I have repeatedly run into difficulties getting Lilypond to properly render 
> sus7 chord names in \chordmode.  It comes up with silly things like "G7sus4 
> 3” and the like.  What is the correct syntax to get a simple “Gsus7” to 
> print?  I’ve tried every combination I can think of.
>
> (By the way, I am also using the pop-chords exception list as I don’t like 
> the Ignatzek standard that is the default in Lilypond).


Because different people understand different things under the same
chord-symbol, please give us a minimal example. Also I'm not aware of
the 'pop-chords exception list'.

Which notes does a Gsus7 contain, the following ones?

\notemode {  }

Cheers,
  Harm

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Re: repeat, alternative, partial and full bar

2015-01-25 Thread Knute Snortum

I don't understand.  What's the problem with removing the s8?  I'm using
2.19.15, 2.18.2, and 2.16.2.


Knute Snortum
(via Gmail)

On Sun, Jan 25, 2015 at 4:54 PM, Ali Cuota  wrote:

> Hello,
>
> I wonder how to codify correctly this minimal example:
>
> \relative c' {
> \partial 8
> \repeat volta 2 { d8 d4 d8 d }
> \alternative { { d4. s8 } { d2 } }
> d8 d8 d8 d8 d2
> }
>
> the s8 is here to fullfill the bar, but take some space and should
> not. Is there a better way?
>
> Thanks in advance!
>
> Franck
>
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Re: sus7 chords in \chordmode

2015-01-25 Thread Tim McNamara

> On Jan 25, 2015, at 7:44 PM, Thomas Morley  wrote:
> 
> 2015-01-26 2:18 GMT+01:00 Tim McNamara :
>> I have repeatedly run into difficulties getting Lilypond to properly render 
>> sus7 chord names in \chordmode.  It comes up with silly things like "G7sus4 
>> 3” and the like.  What is the correct syntax to get a simple “Gsus7” to 
>> print?  I’ve tried every combination I can think of.
>> 
>> (By the way, I am also using the pop-chords exception list as I don’t like 
>> the Ignatzek standard that is the default in Lilypond).
> 
> Because different people understand different things under the same
> chord-symbol, please give us a minimal example. Also I'm not aware of
> the 'pop-chords exception list’.

pop-chords.ly is available in the snippet repository to provide more readable 
chord names than are provided by the default Ignatzek chord names.  I’ve never 
understood how those got to be the default because they are not very 
attractive.  I can make no pretense of understanding the Scheme code used in 
pop-chords.ly as my knowledge of coding is virtually nil; the definitions of 
the chords themselves within that file are pretty straightforward. 

> Which notes does a Gsus7 contain, the following ones?
> 
> \notemode {  }

Yes, G C D F   The 3rd is replaced with the 4th and the flat 7th is added.  
That is the standard definition of a sus7 chord (there are sus2 chords as well, 
but those are usually specified as sus2 whereas sus chords are understood to 
replace the 3rd with the 4th).

g1:4.7 and g1.7.4 both give a result of "G7 sus4 3” which is suboptimal.

g1:sus results in “G5” which makes no sense.

g1:4 results in "G4 sus4 3” which again is suboptimal.

With a bit more experimenting, I find that g1:7sus4 results in “G7sus4” which 
is a big improvement but I’d like to trim that down to “sus7” if possible.

I am puzzled by this- I cannot imagine that I am the first person attempting to 
get Lilypond to print a sus7 chord in \chordmode.  There must be a correct 
syntax but I can’t figure it out.  There is a reason I am not a coder!  :-P

Thanks!

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Re: staccato dots and slurs in second voice

Hi Jay,

On Sun, Jan 25, 2015 at 7:03 PM, Jay Anderson  wrote:

> On Sun, Jan 25, 2015 at 5:14 PM, David Nalesnik
>  wrote:
> > It's definitely possible!  Using a pointer to a ScriptColumn, the
> X-offset
> > callback for Script can be modified to (1) center staccatos over the
> stem if
> > no other articulations are present; (2) center them over the note head if
> > multiple articulations are present.  I'll go over this some more, and if
> all
> > goes well I should have a patch up for discussion.
>
> From another recent message:
> http://lists.gnu.org/archive/html/lilypond-user/2015-01/msg00509.html.
> Is toward-stem-shift not the right thing to change instead of
> X-offset?
>
>
That's effectively what I'm doing.  I'm changing the X-offset callback
because it's only there that the property toward-stem-shift is read (see
scm/output-lib.scm).  The trick is allowing two different concurrent values
for toward-stem-shift: 1.0 for when the staccato is alone, 0.0 when other
articulations are present (like a portato)   In my experiment, I simply did
what the engraver does regarding toward-stem-shift.

Maybe there ought to be another property, held by staccato and
staccatissimo--something that locks staccatos in tandem with any other
articulations present.  By default, the staccato and anything else would be
linked.  Who knows, someone might want to fool with toward-stem-shift of
the staccato in a column, and I'm not wild about the sleight-of-hand I
described above.


> Making something like this the default behavior would be great (the
> above I think is a modified version of something you, David, created
> in the past). The current lilypond default of 0.5 for toward-stem-shif
> for staccato doesn't make much sense to me.


So you would propose 1.0 as the default, and the user could override to 0.5
if they wanted the current default behavior?


> A fix for this should also
> take into account other articulations that behave like staccato
> (staccatissimo, stopped (I've seen this one both ways), etc.)
>
>
That would be no problem.

--David
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Re: sus7 chords in \chordmode

2015-01-25 Thread Brett Duncan


On 26/01/15 1:16 PM, Tim McNamara wrote:

On Jan 25, 2015, at 7:44 PM, Thomas Morley  wrote:

2015-01-26 2:18 GMT+01:00 Tim McNamara :

I have repeatedly run into difficulties getting Lilypond to properly render sus7 
chord names in \chordmode.  It comes up with silly things like "G7sus4 3” and 
the like.  What is the correct syntax to get a simple “Gsus7” to print?  I’ve tried 
every combination I can think of.

(By the way, I am also using the pop-chords exception list as I don’t like the 
Ignatzek standard that is the default in Lilypond).

Because different people understand different things under the same
chord-symbol, please give us a minimal example. Also I'm not aware of
the 'pop-chords exception list’.

pop-chords.ly is available in the snippet repository to provide more readable 
chord names than are provided by the default Ignatzek chord names.  I’ve never 
understood how those got to be the default because they are not very 
attractive.  I can make no pretense of understanding the Scheme code used in 
pop-chords.ly as my knowledge of coding is virtually nil; the definitions of 
the chords themselves within that file are pretty straightforward.


Which notes does a Gsus7 contain, the following ones?

\notemode {  }

Yes, G C D F   The 3rd is replaced with the 4th and the flat 7th is added.  
That is the standard definition of a sus7 chord (there are sus2 chords as well, 
but those are usually specified as sus2 whereas sus chords are understood to 
replace the 3rd with the 4th).

g1:4.7 and g1.7.4 both give a result of "G7 sus4 3” which is suboptimal.

g1:sus results in “G5” which makes no sense.

g1:4 results in "G4 sus4 3” which again is suboptimal.

With a bit more experimenting, I find that g1:7sus4 results in “G7sus4” which 
is a big improvement but I’d like to trim that down to “sus7” if possible.

I am puzzled by this- I cannot imagine that I am the first person attempting to 
get Lilypond to print a sus7 chord in \chordmode.  There must be a correct 
syntax but I can’t figure it out.  There is a reason I am not a coder!  :-P

Thanks!



g1:7sus4 would create the chord you want, but the display is another 
matter. You can add to pop-chords.ly (which I couldn't find in the LSR, 
for some reason) a line like


-\markup { \super "sus7" }

to get the chord displayed as you want.

HTH,

Brett


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Re: fret-diagram and chord name

2015-01-25 Thread MING TSANG

Hi, Lilyponder:There is no reponse to the following email sent Jan 14.  I am 
hoping someone will answer this time.Immanuel,Ming 

 On Wednesday, January 14, 2015 5:05 PM, MING TSANG  
wrote:
   

 dear lilyponders:I run the following .ly file and got the following warning 
error.1.  how can the warning message be removed?Starting lilypond-windows.exe 
2.19.15 [test_unfailing-love.ly]...Processing 
`C:/Users/Tsang/Dropbox/Lyndon/choir/unfailing-love/test_unfailing-love.ly'Parsing...Interpreting
 
music...C:/Users/Tsang/Dropbox/Lyndon/choir/unfailing-love/test_unfailing-love.ly:19:3:
 warning: No string for pitch # (given frets (15 13 11))  
af1:2.3.5 df1:maj7/a 
\break%m01-02C:/Users/Tsang/Dropbox/Lyndon/choir/unfailing-love/test_unfailing-love.ly:20:3:
 warning: No string for pitch # (given frets (15 13 11))  
af1:2.3.5 df1:maj7/a 
\break%m03-04[8]C:/Users/Tsang/Dropbox/Lyndon/choir/unfailing-love/test_unfailing-love.ly:23:3:
 warning: No string for pitch # (given frets (8 6 4))  df1:2.3.5 
ef1:sus 
\break%m17-18C:/Users/Tsang/Dropbox/Lyndon/choir/unfailing-love/test_unfailing-love.ly:24:7:
 warning: No string for pitch # (given frets (13 13 11)) af2  af2/g 
f2:m7 af2/c \break %m19-20[16]Preprocessing graphical objects...Finding the 
ideal number of pages...Fitting music on 1 page...Drawing systems...Layout 
output to `test_unfailing-love.ps'...Converting to 
`./test_unfailing-love.pdf'...Success: compilation successfully 
completedCompleted successfully in 1.6".
2.  ef1:sus  does not show "sus" part. Is it the right code?

<><><><><><><><><><>\version "2.19.15"\language "english"global = { \key af 
\major \numericTimeSignature \time 4/4}chExceptionMusic = {
 1-\markup \super "(add2)"
}chExceptions = #(append (sequential-music-to-chord-exceptions chExceptionMusic 
#t) ignatzekExceptions)chordNames = \chordmode { \global \set 
chordNameExceptions = #chExceptions af1:2.3.5 df1:maj7/a \break%m01-02 
af1:2.3.5 df1:maj7/a \break%m03-04 af1 df4 af4/c bf1:m7 \break%m05-07 df1:2.3.5 
      ef1:sus   \break%m17-18 af2 af2/g f2:m7 af2/c \break %m19-20 }\score { << 
\new ChordNames \chordNames \new FretBoards { \chordmode { \chordNames } } >>}


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Re: staccato dots and slurs in second voice