Re: Understanding Lilypond

[Flaming Hakama by Elaine]

> From: Kieren MacMillan 
> Subject: Re: Understanding Lilypond
>
> Hi Peter,
>
> > many of us have struggled for many months to get to grips with the
> structure and philosophy of Lilypond.
>
> 1. Regarding the structure, what are you struggling with exactly?
>
> 2. Regarding the philosophy, what are you struggling with exactly?
>
> Hope I can help!
> Kieren.
>


I have perhaps too much to say about lilypond documentation, much of it
still very unformed in my mind.
Here is some coherent but still probably pie-in-the-sky stuff that I think
would be exceptionally helpful.


% Code examples

The current examples present the minimum information necessary to
demonstrate the feature.

This follows lilypond's approach, which is to invent everything needed that
you didn't specify, like books, scores, staves, time signatues, clefs,
barlines, etc.

However, there are lots of time you are dealing with things that need to be
applied for only one staff, one staff group, for only one measure, only one
book, etc.   Before you can apply the example, you have to backfill the
structure to which it needs to be applied.  Then, apply your modification
in the correct place.

This leads me to a few suggestions:

1a) Provide a way to take a snippet and get the inferred document.Which
is to say, let lilypond invent all the book/score/staff, etc. necessary,
and then output that structure, rather than the usual pdf output.
(Someone will probably inform me that Frescobaldi already does this, and/or
there is an interpreter that does it, or a command line argument...)

1b) Add an option to toggle each example from the current, "minimal"
example, to a "full context" example that has this inferred structure.

2) For things that can be applied in various places (at global level, book
level, score level, staff group level, staff level, layout, context etc.)
 provide examples for what each of these look like.  Let the user choose at
which level the example should pertain, so they can then copy/paste the
code applicable to their situation.

3a) Link from the examples in the documentation to templates (and provide
enough templates to cover the material.)

3b) Compile some documentation-demonstration scores made by stringing
together the content in the existing examples, then provide links to the
examples' usage in these reference scores.

3c) Develop a library of musical example scores and cross reference them so
you can go from score to documentation or vice versa.


I am willing to help with documentation efforts if anyone is coordinating
them and needs help.



David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: \startTrillSpan without the tr at the beginning?

[Richard Shann]

On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
> Try:
> 
> {
>   b'-\tweak style #'zigzag \startTextSpan
>   b' b'
>   \stopTextSpan
> }
> 

That is a step forward - the zigzag distinguishes the sign from the
prall ... looking up the documentation for TextSpanner leads to the same
as before "stencil" is referred to as "The symbol to print." and  "the
stencil callback" in successive entries
http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 

It looks like the actual drawing of zigzags and so on is in compiled
code, and so not replaceable by the user without running GUB - at least
I can't find any trace of it.

Thanks for all these suggestions, I guess an enhancement request would
be for a wavy line zigzag ...

Richard


> 
> 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: Need to suppress bar number checking in midi block

[Michael Hendry]

> 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. 

Excellent!

Because my midi() output was of a piano part, I had to reset the 
currentBarNumber to #1 once for the right hand and once for the left.

It looks as though \unfoldRepeats “knows” that it’s going through the same bars 
more than once and copes with this, but can’t deal with currentBarNumber being 
wrong from the start.

What’s odd is that the creation of several PDFs that precedes the midi() 
section doesn’t fall over with the second \book is created - presumably with 
currentBarNumber set to the end of the piece.

Many thanks,

Michael

> 
> Cheers, 
>   Harm 
> 
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how to make text spanner not sticking out to the right

[Werner LEMBERG]

Consider the following snippet.

  \relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  \once \override TextSpanner.bound-details.left.text = "rit."
  \once \override TextSpanner.bound-details.right.text = "a tempo"
f4\startTextSpan f f f\stopTextSpan
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  }

As can be seen, lilypond (version 2.19.15-1-171-ge86b2ea) makes a very
unfortunate layout decision so that the `a tempo' sticks out to the
right.

For text scripts and lyrics there is the
`Score.PaperColumn.keep-inside-line' property, which avoids similar
effects.  Obviously, this doesn't affect TextSpanner grobs, thus my
question: How can I make the `a tempo' stay horizontally within the
staff?


Werner

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License for a LilyPond library

[Urs Liska]

Hi all,

once again returning to this ever-hot topic ...

I'm going to release a library with LilyPond code, and I'm not 
completely sure which license this should be done with:


My intentions are:

 * Anybody should be able to *use* the library, that is \include it and
   use its functions, even in commercial and closed-source environments
 * Anybody should be allowed to modify the library code itself, but
   this should be forced to be open source.

My impression is that the LGPL is created exactly for this purpose. Am I 
right with that? Or not? If not, what would be a good alternative?


TIA
Urs

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Re: how to make text spanner not sticking out to the right

[Pierre Perol-Schneider]

Try:

\version "2.19.15"

\relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  \once \override TextSpanner.bound-details.left.text = "rit."
  \once \override TextSpanner.bound-details.right.text = "a tempo"
  \once \override TextSpanner.bound-details.right.attach-dir = #-6
f4\startTextSpan f f f\stopTextSpan
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
}

Pierre

2015-01-26 10:59 GMT+01:00 Werner LEMBERG :

>
> Consider the following snippet.
>
>   \relative c' {
> f4 f f f |
> f4 f f f |
> f4 f f f |
> f4 f f f |
>   \once \override TextSpanner.bound-details.left.text = "rit."
>   \once \override TextSpanner.bound-details.right.text = "a tempo"
> f4\startTextSpan f f f\stopTextSpan
> f4 f f f |
> f4 f f f |
> f4 f f f |
> f4 f f f |
> f4 f f f |
> f4 f f f |
>   }
>
> As can be seen, lilypond (version 2.19.15-1-171-ge86b2ea) makes a very
> unfortunate layout decision so that the `a tempo' sticks out to the
> right.
>
> For text scripts and lyrics there is the
> `Score.PaperColumn.keep-inside-line' property, which avoids similar
> effects.  Obviously, this doesn't affect TextSpanner grobs, thus my
> question: How can I make the `a tempo' stay horizontally within the
> staff?
>
>
> Werner
>
>
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define-music-function -> unexpected EVENT_FUNCTION

[and...@andis59.se]

I have this test program, se below, but I get
unexpected EVENT_FUNCTION
 \transpose c cis $mus
   \rightHandFinger 
\markup\normal-text\bold\fontsize #0 $txt



How would I do this correctly?

// Anders


%% Start
\version "2.19.15"

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
   #{
 \transpose c cis $mus \rightHandFinger 
\markup\normal-text\bold\fontsize #0 $txt

   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold 
\fontsize #0 "A"

  \meTrans c' "a"
  }
%% End

--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
\version "2.19.15"

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
   #{
 \transpose c cis $mus \rightHandFinger \markup\normal-text\bold\fontsize #0 $txt
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0 "A"
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Re: repeat, alternative, partial and full bar

[Ali Cuota]

Hello,

I want to see exactly what shows this minimal example, except that the
"space" is not desired.
This is from an hymn melody and I do the SATB setting. So I would like
to have the original "optic". And with so short repeats, it doesnt
make sense to enlarge the alternative.
Now, without the s8, the half-note of alternative 2. begins in the
remaining half-beat and so the rest of the song.
Thats why.
Thanks in advance

Franck

2015-01-26 1:58 GMT-05:00, Brian Barker :
> At 19:54 25/01/2015 -0500, you wrote:
>>I wonder how to codify correctly this minimal example:
>
> That depends on what you want to see!
>
>>the s8 is here to fullfill the bar, but take some space and should not.
>
> o Why do you think you need this? If you want to go back to the
> starting quaver upbeat, it's important that the first-time bar is
> *not* complete. But that would mean that the repeat bar-line comes at
> a point within a bar, not at the end. The second-time part would have
> to start with a partial bar of only a quaver length.
>
> o Your first-time bar (as marked) is half a bar. Is this ever
> permissible? None of Elaine Gould's examples show this.
>
> o With the first-time bar being only the second half of a bar, the
> minim at the start of the second-time version completes the bar and
> should be followed by a bar line. Then the four barred quavers and
> the final minim should be a contiguous bar - with no intervening
> bar-line. Is that what you mean?
>
>>Is there a better way?
>
> Yes - but that depends on exactly what you mean. I started to try to
> correct this, but that's not possible without knowing how you think
> it should actually expand.
>
> Brian Barker - privately
>
>

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Re: License for a LilyPond library

[Mattes]

 
Am Montag, 26. Januar 2015 11:30 CET, Urs Liska  schrieb: 
 
> Hi all,

Hi Urs,
 
> once again returning to this ever-hot topic ...
> 
> I'm going to release a library with LilyPond code, and I'm not 
> completely sure which license this should be done with:
> 
> My intentions are:
> 
>   * Anybody should be able to *use* the library, that is \include it and
> use its functions, even in commercial and closed-source environments
>   * Anybody should be allowed to modify the library code itself, but
> this should be forced to be open source.
> 
> My impression is that the LGPL is created exactly for this purpose. Am I 
> right with that? Or not? If not, what would be a good alternative?

Yes, the second requirement pretty much excludes BSDish licences.
But, to be realistic: even with LGPL, the licence only covers _redistribution_ 
of
the code, not use. So, someone changing your library can't  be forced to commit 
back
unless he/she redistributes the modified code.

 HTH Ralf Mattes
 
> TIA
> Urs
> 
 
 
 
 


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Re: how to make text spanner not sticking out to the right

[Werner LEMBERG]

>   \once \override TextSpanner.bound-details.right.attach-dir = #-6

Thanks.  However, this solution fails twice.

  1. The vertical position of the `a tempo' must not be shifted
 horizontally relative to the music.  In the example, the `a
 tempo' should exactly start at the last quarter note.

  2. In my real-world case, the `a tempo' still sticks out to the
 right.  In other words, your ad-hoc solution is too specific.

I've now solved the issue by inserting a \noBreak command – stupid me
that I haven't thought of that earlier :-)


Werner
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Re: how to make text spanner not sticking out to the right

[Mattes]

 
Am Montag, 26. Januar 2015 11:38 CET, Pierre Perol-Schneider 
 schrieb: 
 
> Try:
> 
> \version "2.19.15"
> 
> \relative c' {
> f4 f f f |
> f4 f f f |
> f4 f f f |
> f4 f f f |
>   \once \override TextSpanner.bound-details.left.text = "rit."
>   \once \override TextSpanner.bound-details.right.text = "a tempo"
>   \once \override TextSpanner.bound-details.right.attach-dir = #-6
> f4\startTextSpan f f f\stopTextSpan
> f4 f f f |


Hmm, but that way the "a tempo" would start one note early, wouldn't it?
I think that iff the old tempo should be reached on the last note of the bar 
there is really no way to avoid that ugliness.

Cheers, Ralf Mattes

 


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Re: License for a LilyPond library

[Urs Liska]

Am 26.01.2015 um 11:55 schrieb Mattes:
  
Am Montag, 26. Januar 2015 11:30 CET, Urs Liska  schrieb:
  

Hi all,

Hi Urs,
  

once again returning to this ever-hot topic ...

I'm going to release a library with LilyPond code, and I'm not
completely sure which license this should be done with:

My intentions are:

   * Anybody should be able to *use* the library, that is \include it and
 use its functions, even in commercial and closed-source environments
   * Anybody should be allowed to modify the library code itself, but
 this should be forced to be open source.

My impression is that the LGPL is created exactly for this purpose. Am I
right with that? Or not? If not, what would be a good alternative?

Yes, the second requirement pretty much excludes BSDish licences.
But, to be realistic: even with LGPL, the licence only covers _redistribution_ 
of
the code, not use. So, someone changing your library can't  be forced to commit 
back
unless he/she redistributes the modified code.


Ah, yes, I'm aware of that.
But that's OK for me. What I wouldn't want is someone redistributing a 
modified version in a commercial package.


So this points to LGPL being OK?

Urs


  HTH Ralf Mattes
  

TIA
Urs

  
  
  
  




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Re: \startTrillSpan without the tr at the beginning?

[Richard Shann]

On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote:
> On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
> > Try:
> > 
> > {
> >   b'-\tweak style #'zigzag \startTextSpan
> >   b' b'
> >   \stopTextSpan
> > }
> > 
> 
> That is a step forward - the zigzag distinguishes the sign from the
> prall ... looking up the documentation for TextSpanner leads to the same
> as before "stencil" is referred to as "The symbol to print." and  "the
> stencil callback" in successive entries
> http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 
> 
> It looks like the actual drawing of zigzags and so on is in compiled
> code, and so not replaceable by the user without running GUB - at least
> I can't find any trace of it.
> 
> Thanks for all these suggestions, I guess an enhancement request would
> be for a wavy line zigzag ...

Come to think of it, I can't find the documentation for what values for
style are already available. The documentation mentions 'dashed-line but
how would the user know if 'wiggly-line was already available?

Richard




> 
> Richard
> 
> 
> > 
> > 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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switching stem direction within voice to avoid collisions

[bart deruyter]

Hi all,

I'm typesetting something from Heinrich Albert and one exercise has three
voices. To avoid collisions, they switch the direction of the stems within
one voice and I haven't found how to achieve it.

If someone knows where to find this in the documentation or in a snippet...

The image shows what I want to achieve.

thanks,

Bart

http://www.bartart3d.be/
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On Google+ 


switching
Description: Binary data
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Re: how to make text spanner not sticking out to the right

[Pierre Perol-Schneider]

You're absolutely right Ralf.
AFAIC I'd do :

\version "2.19.15"

\relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4
  -\tweak TextSpanner.bound-details.left.text #"rit. "
  -\tweak TextSpanner.bound-details.left-broken.text ##f
  -\tweak TextSpanner.bound-details.right-broken.text ##f
  -\tweak TextSpanner.bound-details.right.text #" a Tempo"
  \startTextSpan f f f
f4\stopTextSpan f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
}

In my previous proposition I tried to stick to Werner's parameters.

Cheers,
Pierre

2015-01-26 11:58 GMT+01:00 Mattes :


> Hmm, but that way the "a tempo" would start one note early, wouldn't it?
> I think that iff the old tempo should be reached on the last note of the
> bar
> there is really no way to avoid that ugliness.
>
> Cheers, Ralf Mattes
>
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Re: repeat, alternative, partial and full bar

[Mats Bengtsson]

Ali Cuota  gmail.com> writes:

> 
> Hello,
> 
> I want to see exactly what shows this minimal example, except that the
> "space" is not desired.
> This is from an hymn melody and I do the SATB setting. So I would like
> to have the original "optic". And with so short repeats, it doesnt
> make sense to enlarge the alternative.
> Now, without the s8, the half-note of alternative 2. begins in the
> remaining half-beat and so the rest of the song.
> Thats why.

As has already been pointed out, the notation in your example doesn't really
make sense, rhythmically. In particular, the second alternative would
provide the second half of the bar starting before the first alternative, so
the bar lines after the second repeat seem half a bar off, to me. Anyway, if
you just want to avoid the space provided by s8, you could read about
scaling durations at
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations.
The resulting example would then be
\relative c' {
\partial 8
\repeat volta 2 { d8 d4 d8 d }
\alternative { { d4.*4/3 } { d2 } }
d8 d8 d8 d8 d2
}

/Mats


> Thanks in advance
> 
> Franck
> 
> 2015-01-26 1:58 GMT-05:00, Brian Barker  btinternet.com>:
> > At 19:54 25/01/2015 -0500, you wrote:
> >>I wonder how to codify correctly this minimal example:
> >
> > That depends on what you want to see!
> >
> >>the s8 is here to fullfill the bar, but take some space and should not.
> >
> > o Why do you think you need this? If you want to go back to the
> > starting quaver upbeat, it's important that the first-time bar is
> > *not* complete. But that would mean that the repeat bar-line comes at
> > a point within a bar, not at the end. The second-time part would have
> > to start with a partial bar of only a quaver length.
> >
> > o Your first-time bar (as marked) is half a bar. Is this ever
> > permissible? None of Elaine Gould's examples show this.
> >
> > o With the first-time bar being only the second half of a bar, the
> > minim at the start of the second-time version completes the bar and
> > should be followed by a bar line. Then the four barred quavers and
> > the final minim should be a contiguous bar - with no intervening
> > bar-line. Is that what you mean?
> >
> >>Is there a better way?
> >
> > Yes - but that depends on exactly what you mean. I started to try to
> > correct this, but that's not possible without knowing how you think
> > it should actually expand.
> >
> > Brian Barker - privately
> >
> >
> 





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Re: switching stem direction within voice to avoid collisions

[Pierre Perol-Schneider]

Hi Bart,

Try :

\version "2.18.2"

global = { \clef "G_8" \time 4/4 }

\new Staff <<
  \global
  \context Voice = "high" {
\voiceOne
c'2 b4 c'
  }
  \context Voice = "middle" {
\voiceThree
\override NoteColumn.force-hshift = #0
\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown c'8 g e g
\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
\revert Beam.position
  }
  \context Voice = "low" {
\voiceTwo
e4 e d e
  }
>>

HTH,
Pierre

2015-01-26 12:55 GMT+01:00 bart deruyter :

> Hi all,
>
> I'm typesetting something from Heinrich Albert and one exercise has three
> voices. To avoid collisions, they switch the direction of the stems within
> one voice and I haven't found how to achieve it.
>
> If someone knows where to find this in the documentation or in a snippet...
>
> The image shows what I want to achieve.
>
> thanks,
>
> Bart
>
> http://www.bartart3d.be/
> On facebook 
> On Twitter 
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> On Google+ 
>
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Johan,

> To not answer your question: I would not use Gsus7 since it is ambiguous.
> Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
> makes you think that the 7th is suspended -- which is not the case.
> 
> G7sus (or G7sus4) is the unambiguous way to express this chord.

+1

It seems “sus7” is almost exclusively a guitar notation — I’ve certainly never 
seen it in any jazz chart or musical theatre score I’ve played from.

Cheers,
Kieren.

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Re: switching stem direction within voice to avoid collisions

[bart deruyter]

thanks for the quick solution.

I've adapted the example of Pierre, to a score without the use of contexts
and omitted assigning a voice to the 'voiceTwo' part. That made it possible
for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts
lilypond threw an error when not assigning that voice.

I don't know if it's good practice, but it works...

thanks again :-)

grtz,

Bart

http://www.bartart3d.be/
On facebook 
On Twitter 
On Identi.ca 
On Google+ 

2015-01-26 13:27 GMT+01:00 Brian Barker :

> At 12:55 26/01/2015 +0100, you wrote:
>
>> I'm typesetting something from Heinrich Albert and one exercise has three
>> voices. To avoid collisions, they switch the direction of the stems within
>> one voice and I haven't found how to achieve it.
>>
>
> The voices have their own stem directions, of course. You can disable this
> and allow stems to go either way with \stemNeutral - but that probably
> won't help you here. Otherwise you can use \stemDown and \stemUp directly.
> Will those work for you?
>
> Brian Barker - privately
>
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Re: \startTrillSpan without the tr at the beginning?

[Richard Shann]

On Mon, 2015-01-26 at 11:40 +, Richard Shann wrote:
> On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote:
> > On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
> > > Try:
> > > 
> > > {
> > >   b'-\tweak style #'zigzag \startTextSpan
> > >   b' b'
> > >   \stopTextSpan
> > > }
> > > 
> > 
> > That is a step forward - the zigzag distinguishes the sign from the
> > prall ... looking up the documentation for TextSpanner leads to the same
> > as before "stencil" is referred to as "The symbol to print." and  "the
> > stencil callback" in successive entries
> > http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 
> > 
> > It looks like the actual drawing of zigzags and so on is in compiled
> > code, and so not replaceable by the user without running GUB - at least
> > I can't find any trace of it.
> > 
> > Thanks for all these suggestions, I guess an enhancement request would
> > be for a wavy line zigzag ...
> 
> Come to think of it, I can't find the documentation for what values for
> style are already available.

Even though I can't find it, it must be there as I see in the sources
(line-interface.cc)

"Generic line objects.  Any object using lines supports this."
   "  The property @code{style} can be @code{line},"
   " @code{dashed-line}, @code{trill}, @code{dotted-line},"
   " @code{zigzag} or @code{none} (a transparent line).\n"

which tells me that zigzag is the closest thing currently available.
And as for drawing a wiggly-line this would mean adapting
Line_interface::make_zigzag_line () earlier in the same file.
But that requires some knowledge of the drawing primitives available...

Richard


>  The documentation mentions 'dashed-line but
> how would the user know if 'wiggly-line was already available?
> 
> Richard
> 
> 
> 
> 
> > 
> > Richard
> > 
> > 
> > > 
> > > 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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> 
> 
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Re: switching stem direction within voice to avoid collisions

[Pierre Perol-Schneider]

Sure it is, see:

\version "2.18.2"


global = { \clef "G_8" \time 4/4 }

\new Staff <<
  \global
  {
c'2 b4 c'
  } \\
  {
\mergeDifferentlyHeadedOn
\stemUp
\once\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown c'8 g e g
\once\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\once\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
  } \\
  {
\stemDown
\once\override NoteColumn.force-hshift = #0
e4 e d e
  }
>>

Cheers,
Pierre

2015-01-26 13:45 GMT+01:00 bart deruyter :

> thanks for the quick solution.
>
> I've adapted the example of Pierre, to a score without the use of contexts
> and omitted assigning a voice to the 'voiceTwo' part. That made it possible
> for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts
> lilypond threw an error when not assigning that voice.
>
> I don't know if it's good practice, but it works...
>
> thanks again :-)
>
> grtz,
>
> Bart
>
> http://www.bartart3d.be/
> On facebook 
> On Twitter 
> On Identi.ca 
> On Google+ 
>
> 2015-01-26 13:27 GMT+01:00 Brian Barker :
>
>> At 12:55 26/01/2015 +0100, you wrote:
>>
>>> I'm typesetting something from Heinrich Albert and one exercise has
>>> three voices. To avoid collisions, they switch the direction of the stems
>>> within one voice and I haven't found how to achieve it.
>>>
>>
>> The voices have their own stem directions, of course. You can disable
>> this and allow stems to go either way with \stemNeutral - but that probably
>> won't help you here. Otherwise you can use \stemDown and \stemUp directly.
>> Will those work for you?
>>
>> Brian Barker - privately
>>
>
>
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Re: switching stem direction within voice to avoid collisions

[Pierre Perol-Schneider]

2015-01-26 13:45 GMT+01:00 bart deruyter :


> That made it possible for the 'mergeDifferentlyHeadedOn' to show the
> half-note.
>

Ok, now I see, I missed that.
See :
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#collision-resolution
(... Known issues and warnings)

So here again, with contexts :

\version "2.18.2"

global = { \clef "G_8" \time 4/4 }

\new Staff <<
  \global
  \context Voice = "high" {
\voiceOne
c'2 b4 c'
  }
  \context Voice = "middle" {
\voiceThree
%\override NoteColumn.force-hshift = #0
\override NoteColumn.ignore-collision = ##t
\mergeDifferentlyHeadedOn
\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown
\tweak NoteHead.stencil #f
c'8 g e g
\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
\revert Beam.position
  }
  \context Voice = "low" {
\voiceTwo
e4 e d e
  }
>>

Cheers,
Pierre
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Re: switching stem direction within voice to avoid collisions

[Rutger Hofman]

On 01/26/2015 02:29 PM, Pierre Perol-Schneider wrote:

2015-01-26 13:45 GMT+01:00 bart deruyter mailto:bart.deruy...@gmail.com>>:

That made it possible for the 'mergeDifferentlyHeadedOn' to show the
half-note.


Ok, now I see, I missed that.
See :
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#collision-resolution
(... Known issues and warnings)


In 2.19.15, the \tweak NoteHead.stencil and NoteColumn.ignore-collision
are unnecessary. However, there are weirdish issues with voices. If the
first
voice is just the "default" voice (no \new or \context), havoc results
if I specify \mergeDifferentlyHeadedOn (or even \time 4/4) *before* the
\voiceOne in that voice, but things are fine if I specify \voiceOne first.
???

Rutger



So here again, with contexts :

\version "2.18.2"

global = { \clef "G_8" \time 4/4 }

\new Staff <<
   \global
   \context Voice = "high" {
 \voiceOne
 c'2 b4 c'
   }
   \context Voice = "middle" {
 \voiceThree
 %\override NoteColumn.force-hshift = #0
 \override NoteColumn.ignore-collision = ##t
 \mergeDifferentlyHeadedOn
 \override Beam.positions = #'(-.8 . 1.5)
 \once\stemDown
 \tweak NoteHead.stencil #f
 c'8 g e g
 \override Beam.positions = #'(-1.5 . .5)
 \once\stemDown b[ g]
 \override Beam.positions = #'(-1 . .5)
 \once\stemDown c' g
 \revert Beam.position
   }
   \context Voice = "low" {
 \voiceTwo
 e4 e d e
   }




Cheers,
Pierre






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Re: staccato dots and slurs in second voice

[David Nalesnik]

Hi Werner,

On Mon, Jan 26, 2015 at 12:24 AM, Werner LEMBERG  wrote:

>
> >> 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.
>
> Thanks for working on this!


My pleasure!  I have something which is almost ready to be reviewed, but I
need to get several patches pushed and into current master first.


> Will this also influence the positioning
> of the end (or start) of a slur?  Since I guess that the answer is no,
>

Unfortunately, that's a different problem.  Of course, since the patch puts
the staccato dots at stem end, you'll notice a (slight) improvement.  (See
attached.)

I wonder how this could be improved, namely to set maximum and minimum
> horizontal coordinates for slurs that must not be exceeded.
>

Not sure--I'd need to investigate.  Something ought to be done about the
vertical position, too, of course.  That might be harder.  (I'm just
guessing.)

>
> > [...] what about changing toward-stem-shift to a number-pair instead
> > of a number?
>
> Sounds sensible.
>
>
I'm liking this approach--will be part of upcoming patch for review.

Best,
David
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Three-beats notes

[Marco Oros]

Hello!
I have a question. How can I entered a three-beat notes in 3/4 bar?
It can be entered, as whole notes?
Or, exists something, like three-beat notes, or how It calls in musical 
terminology in English language? I am from Slovakia and English is my 
secound language.

Thank You, Marco Oros.

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Arrows

[Luca Danieli]

Hi all,
I'd just like to know if there is any command to create curved lines with 
arrows.The best solution would be to add arrows to \bendAfter, but I cannot 
find how to do it.
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Re: Three-beats notes

[Urs Liska]

Am 26.01.2015 um 17:39 schrieb Marco Oros:

Hello!
I have a question. How can I entered a three-beat notes in 3/4 bar?
It can be entered, as whole notes?
Or, exists something, like three-beat notes, or how It calls in 
musical terminology in English language? I am from Slovakia and 
English is my secound language.

Thank You, Marco Oros.


I'm not completely sure what you mean, but

c2.

will give you a dotted half note, which fills up a 3/4 bar.
Dotting a note will prolong the note by half of its length.

Shane's answer is not musically "correct" but shows you how you can 
achieve non-standard notation (but I suspect this is not what you are 
after).


HTH
Urs



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Re: Three-beats notes

[Shane Brandes]

R1*3/4 that should help you get the gist of doing odd increment full
bar rests. By the way you can alter any note walue that way.
-Shane

On Mon, Jan 26, 2015 at 11:39 AM, Marco Oros  wrote:
> Hello!
> I have a question. How can I entered a three-beat notes in 3/4 bar?
> It can be entered, as whole notes?
> Or, exists something, like three-beat notes, or how It calls in musical
> terminology in English language? I am from Slovakia and English is my
> secound language.
> Thank You, Marco Oros.
>
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Re: Three-beats notes

[Paul Scott]

On Mon, Jan 26, 2015 at 05:39:19PM +0100, Marco Oros wrote:
> Hello!
> I have a question. How can I entered a three-beat notes in 3/4 bar?
> It can be entered, as whole notes?
> Or, exists something, like three-beat notes, or how It calls in musical
> terminology in English language? I am from Slovakia and English is my
> secound language.

A three beat note in 3/4 would be entered as c2. for a C, in other words 
a dotted half note.  This also true for 4/4 or 6/4, etc.

To get a note worth 3 quarter notes you use the value "2." .  

HTH

Paul Scott


> Thank You, Marco Oros.
> 
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Re: Three-beats notes

[Pierre Perol-Schneider]

Hi Marco,

Are you talking about triplets?
See:
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms.html#tuplets

E.g :

\version "2.18.2"

{
  \time 3/4
  \tuplet 3/2 4 { c'8 c' c' c' c' c' c' c' c' }
}

Cheers,
Pierre

2015-01-26 17:39 GMT+01:00 Marco Oros :

> Hello!
> I have a question. How can I entered a three-beat notes in 3/4 bar?
> It can be entered, as whole notes?
> Or, exists something, like three-beat notes, or how It calls in musical
> terminology in English language? I am from Slovakia and English is my
> secound language.
> Thank You, Marco Oros.
>
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Re: sus7 chords in \chordmode

[Tim McNamara]

> On Jan 26, 2015, at 1:32 AM, Johan Vromans  wrote:
> 
> On Sun, 25 Jan 2015 19:18:52 -0600
> Tim McNamara  wrote:
> 
>> 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?
> 
> To not answer your question: I would not use Gsus7 since it is ambiguous.
> Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
> makes you think that the 7th is suspended -- which is not the case.
> 
> G7sus (or G7sus4) is the unambiguous way to express this chord.
> 
> See e.g. https://en.wikipedia.org/wiki/Suspended_chord .
> Chapter 8 of "Standardized Chord Symbol Notation" by Carl Brandt & Clinton
> Roemer.

I have the Roemer-Brandt book and will double check that, thanks for pointing 
it out.  I have been modifying the pop-chords.ly  file 
for my own use to use the Roemer-Brandt terminology and will make that 
available once I have completed it.  My recollection- without checking, of 
course- was that R-B used “sus” for plain suspended 4th chords and “sus7” for 
suspended 4th dominant chords.  My memory may well be faulty on this (again, as 
it has been so often as my wife reminds me).  If they use “7sus” or “7sus4” I 
will go with that.

Tim


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Re: Three-beats notes

[Marco Oros]

OK, I just found a reply. Ofcourse, this was note to fill bar in 3/4.
Do You know, I am blind person and in one software It was used, but It 
is a mistake in this software ( I don't should say name of It).

So, this is half dotted note, for example c2. .
Thank You, Marco Oros.

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Re: Arrows

[Pierre Perol-Schneider]

Hi Luca,

Here are two options :

\version "2.18.2"

arrowBend =
  #'((moveto 0 0)
 (curveto 0 0 1 0 2 2.5)
 (moveto 1.2 1.8)
 (curveto 1.2 1.8 1.4 1.8 2 2.5)
 (moveto 2 1.5)
 (curveto 2 1.5 1.9 1.8 2 2.5))

\relative c'' {
  \override Score.SpacingSpanner.shortest-duration-space = #3.0

  %%  standard notation
  e4-\bendAfter #+4

  %% adding an arrow on the standard notation
  %% handled manually, not easy !!
  e4
  -\tweak extra-offset #'(3.71 . .7)
  ^\markup\rotate #-12 \musicglyph #"arrowheads.open.11"
  -\bendAfter #+5

  %% exchange the standard grob with a path drawing
  \once\override BendAfter.stencil = #(lambda (grob)
 (grob-interpret-markup grob
   #{
 \markup\concat { \hspace #1.8 \path #0.2 #arrowBend }
   #}))
  e4-\bendAfter #+4
}

Cheers,
Pierre

2015-01-26 17:55 GMT+01:00 Luca Danieli :

> Hi all,
>
> I'd just like to know if there is any command to create curved lines with
> arrows.
> The best solution would be to add arrows to \bendAfter, but I cannot find
> how to do it.
>
> Luca
>
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Re: sus7 chords in \chordmode

[Flaming Hakama by Elaine]

> From: Johan Vromans 
> Subject: Re: sus7 chords in \chordmode
>
> To not answer your question: I would not use Gsus7 since it is ambiguous.
> Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
> makes you think that the 7th is suspended -- which is not the case.
>

Well, this chord does have a 7th, so I'm not sure what your concern is.

To play devil's advocate, how do you know if it  is a major or minor 7th?
Simply by convention: all 7ths are minor unless you explicitly say that it
is major.  This is just another convention: all susses are 4ths unless you
explicitly say that it is something else.  This has nothing more or less to
recommend it than the convention we use for 7ths.



>
> G7sus (or G7sus4) is the unambiguous way to express this chord.
>
>
I think that part of the issue here is categorical, based on context.

Analysis:  writing a chord symbol to describe a specific set of notes
Laziness: writing a chord symbol instead of writing a specific set of notes
Improvisation: writing a chord symbol to give direction as to the musical
context

For starters, I think it is fair to say that these are different musical
contexts and we should not expect that conventions should be the same.

For the purposes of analysis and laziness, there can be no denying that the
more specific versions you recommend are better.

But for improvisation, it tends to be irrelevant at best, and writing sus7
can even avoid some problems.


As I'm sure you're aware, In terms of improvising chords in Jazz, chordal
players tend to play some, but not all, of the actual notes in the chord,
and then add more colorful, related notes, that are not explicitly within
the chord.

When chord symbols are used by melodic instruments, of course there are no
chords whatsoever being played by the person interpreting the chord
symbol.  The chord symbol is mainly used to interpret what scale is
appropriate to play (as well as its musical function.)

In this usage (the context of the OP) there are rarely cases where adding a
2 to a sus4 or a 4 to a sus2 chord would sound "wrong".  The underlying
scales are arguably identical, so there is no musical difference among
these chords (in this context).  You are making a distinction without a
difference.


Furthermore, I just did a quick check at a dozen or so real books to see if
I was crazy (turns out, I am).  But enough about me.  My point being, while
I did notice a wide variety notations for sus chords (with 7sus4 being the
most common, and more so among the more professional books) not a single
chord I ran across used any suspension other than a 4!

Which is to say, this alleged need to distinguish sus2 from sus4 chords in
the context in which the OP is interested, is basically a non-issue, and it
is easy enough to add the 2 if that's what you need.


The more constructive thing I would add about why I personally prefer the
sus7 notation (besides economy with no lack of clarity) is that it
describes the notes from left to right in the correct order.  It always
seems weird to me to see notations like C7#5, since as you parse the chord,
you start by specifying a dominant chord, then change one of the notes that
you already implicitly specified.  Why not just specify what it actually is
from the get-go?  There are some cases where I haven't figured out a better
approach, like C7b5.  But in general I think it is best to specify chords
more directly by chord type, rather than indirectly, by specifying the
wrong chord type and then patching it up at the end.

In this sense, the notation 7sus4 contains a little bit of a notational
dissonance.  Is it a dominant chord or not?   Since it is a sus chord, not
a dominant chord, I think it makes more sense to put the sus next to the
root name, rather than the 7.


In terms of practicality, my belief is that you will hear fewer thirds in
your chords, due to reading mistakes, if you use sus7 notation than 7sus4,
since some people will inevitably see the "G7..." and play a dominant
variety voicing, including the one note you really don't want.



David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
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Re: sus7 chords in \chordmode

[Brett Duncan]

On 27/01/15 6:15 AM, Tim McNamara wrote:


On Jan 26, 2015, at 1:32 AM, Johan Vromans > wrote:


On Sun, 25 Jan 2015 19:18:52 -0600
Tim McNamara mailto:tim...@bitstream.net>> wrote:


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?


To not answer your question: I would not use Gsus7 since it is ambiguous.
Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
makes you think that the 7th is suspended -- which is not the case.

G7sus (or G7sus4) is the unambiguous way to express this chord.

See e.g. https://en.wikipedia.org/wiki/Suspended_chord .
Chapter 8 of "Standardized Chord Symbol Notation" by Carl Brandt & 
Clinton

Roemer.


I have the Roemer-Brandt book and will double check that, thanks for 
pointing it out.  I have been modifying the pop-chords.ly 
 file for my own use to use the Roemer-Brandt 
terminology and will make that available once I have completed it.  My 
recollection- without checking, of course- was that R-B used “sus” for 
plain suspended 4th chords and “sus7” for suspended 4th dominant 
chords.  My memory may well be faulty on this (again, as it has been 
so often as my wife reminds me).  If they use “7sus” or “7sus4” I will 
go with that.


Tim


You're not mistaken - I have also seen "sus" and "sus7" used in the same 
way on rock and R&B charts. It's not a notation I would use myself, and 
I agree with Johan that G7sus4 is the unambiguous way to express the 
chord. But as has been pointed out before, there is no agreed standard 
for chord notation.


It's worth noting that G7sus can be interpreted differently in a jazz 
context - the wikipedia article Johan linked to mentions this, though 
the analysis is not entirely accurate IMO.


With regard to Roemer & Brandt, I think it's an interesting reference 
and a useful discussion starter, but it seems to me to be somewhat at 
odds with contemporary practice.


Brett
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Re: define-music-function -> unexpected EVENT_FUNCTION

[Klaus Blum]

Hi Anders, 

the "\rightHandFinger" command can only be used for a single note, not for a
whole "music" expression that could also be a chord or a sequence of notes
and rests. 
Replacing "ly:music?" by "ly:pitch?" should do the trick:

%
-
\version "2.19.15"

meTrans =
#(define-music-function (parser location mus txt) (ly:pitch? string?)
   #{
 \transpose c cis $mus \rightHandFinger
\markup\normal-text\bold\fontsize #0 $txt
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
"A"
  \meTrans c' "a"
  }
%
-

If you want to transpose more than just one note, you should split things
up: 
One function to apply the fingering markup on single notes, another function
to transpose the whole music expression:

%
-
\version "2.19.15"

rhf =
#(define-music-function (parser location txt) (string?)
   #{
 -\rightHandFinger \markup\normal-text\bold\fontsize #0 $txt
   #}
   )

meTrans =
#(define-music-function (parser location mus) (ly:music?)
   #{
 \transpose c cis $mus
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
"A"
  \meTrans {c' -\rhf "first" d' e' f' -\rhf "last"}
  }
%
-

Cheers, 
Klaus



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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

[Schneidy]

Hi Franck,
please provide a compilable example.

Cheers,
Pierre



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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi all,

On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine 
 wrote:
> why I personally prefer the sus7 notation (besides economy with no lack of 
> clarity)

I disagree about the lack of clarity:

>From C7sus4, I infer that we have a C7 chord (i.e., dominant 7th) with a 
>suspension at the 4th (which suggests a resolution to the 3rd, if it resolves 
>at all).

>From C7sus, I infer that we have a C7 chord (i.e., dominant 7th) with a 
>suspension somewhere — since it is not otherwise specified, I assume it's at 
>the 4th (which suggests a resolution to the 3rd, if it resolves at all).

>From Csus7, I infer that we have a C chord (i.e., triad) with a suspension at 
>the 7th (which suggests a resolution to the 6rd, if it resolves at all).

So to my eye, the first two options are equivalent modulo standard assumptions, 
whereas the third option introduces ambiguity.

> it describes the notes from left to right in the correct order.  It always 
> seems weird to me to see notations like C7#5, since as you parse the chord, 
> you start by specifying a dominant chord, then change one of the notes that 
> you already implicitly specified.  Why not just specify what it actually is 
> from the get-go?  There are some cases where I haven't figured out a better 
> approach, like C7b5.  But in general I think it is best to specify chords 
> more directly by chord type, rather than indirectly, by specifying the wrong 
> chord type and then patching it up at the end.

Although Gould (frustratingly!) has essentially nothing to say about chords, I 
think her philosophy regarding subito dynamics (use “p sub.” and not “sub p.”) 
applies well: since the vast majority of us read music (including chord 
symbols) from left to right, and it’s more important to play (e.g.,) an 
unaltered C7 than a C sus triad without the 7th, it’s better to describe the 
full shape of the chord first, and then describe afterwards those alterations 
which are ultimately optional. And the effect likely becomes increasingly 
pronounced as the number of alterations increases.

All the best,
Kieren.
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How to get lyrics to skip measures?

[Chris Trahan]

I'm having a little trouble figuring out how to do this.  I have a score
where verse 1 is sung then there is a whistling interlude then verse two is
sung.

I think that I need to somehow include spacers to skip over the whistle
part but I'm getting errors when I try that.

Here is a short sample code. Would someone give me a clue how to get the
lyrics to skip the "Whistle" part?

This comes up often in our vocal music. Often there is an interlude before
the next verse is sung.

\version "2.18.2"
\language "english"

melodyVerseOne = {
  \new Staff \relative c'' {
\set Staff.vocalName = "Women"
\set Staff.shortVocalName = "W"
\new Voice = "Women" {
  \time 2/4
  \key c \major
  c^"Verse 1" d e f | \break
%%  Lyrics to skip this section
  g^"Whistle" a b c | \break
%%  Verse two lyrics start here
  c,^"Verse 2" d e f
}
  }
}

verseOneLyrics = \lyricmode {
  La la la la
}

verseTwoLyrics = \lyricmode {
  Do re me fa
}

\score {
  <<
  \melodyVerseOne
  \new Lyrics \lyricsto "Women" {
\verseOneLyrics
  %% Need to skip the "Whistle part"
\verseTwoLyrics
  }
  >>
}

Thanks,
Chris
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Ritardando and accelerando

[Peter Danemo]

Hello!

I’m trying to add a Ritardando. I’ve searched the user manual and found some 
information but I do not understand how I use it. Exactly where do I write!?

\override TextSpanner.bound-details.left.text =
  \markup { \upright "rit." }
b1\startTextSpan c
e,\stopTextSpan
Being used to Sibelius there’s som many things that are so difficult to 
understand. Only to search in the right place in the manual took a good while. 
Since Ritardando and Accelerando are pretty common, shouldn’t there be an 
easier way to find it? It’s not listed in the Index of the manual.

Sorry about having to ask such a ”simple” question, but for me almost 
everything with Lilypond is very hard to understand at this point.

Best wishes!
/Peter


Peter Danemo
+46-70-653 21 91
E-post: m...@danemo.com
Web: danemo.com





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Re: How to get lyrics to skip measures?

[Kieren MacMillan]

Hi Chris,

> I think that I need to somehow include spacers to skip over the whistle part 
> but I'm getting errors when I try that.

\new Lyrics \lyricsto "Women" {
\verseOneLyrics
\repeat unfold 4 { \skip 8 }
\verseTwoLyrics
  }

Hope this helps!
Kieren.
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Re: Understanding Lilypond

[Kieren MacMillan]

Hi,

> The current examples present the minimum information necessary to demonstrate 
> the feature.
> This follows lilypond's approach, which is to invent everything needed that 
> you didn't specify, like books, scores, staves, time signatues, clefs, 
> barlines, etc.

This *is* a potential frustration.

> 1b) Add an option to toggle each example from the current, "minimal" example, 
> to a "full context" example that has this inferred structure.  

That would be a great solution — it might be difficult to do “automagically”, 
but could certainly be done manually by an interested party.

> 2) For things that can be applied in various places (at global level, book 
> level, score level, staff group level, staff level, layout, context etc.)  
> provide examples for what each of these look like.  Let the user choose at 
> which level the example should pertain, so they can then copy/paste the code 
> applicable to their situation.

Hmmm… Given the impressive (read: daunting) size of the docs as they already 
stand, I’m not sure that multiplying all examples by at least a factor of five 
(my estimate for the average number of possible levels of application) is a 
great idea. Certainly *one* example showing the application of the same (e.g.) 
override at all possible different levels would be instructive — and hopefully 
easily applied to other circumstances by the reader.

> 3a) Link from the examples in the documentation to templates (and provide 
> enough templates to cover the material.)

There is a discussion currently underway about how best to provide stylesheets 
and templates — feel free to join in and contribute there!

> 3b) Compile some documentation-demonstration scores made by stringing 
> together the content in the existing examples, then provide links to the 
> examples' usage in these reference scores.
> 
> 3c) Develop a library of musical example scores and cross reference them so 
> you can go from score to documentation or vice versa.

Interesting suggestions, though I don’t immediately see how to accomplish that 
easily.

Thanks!
Kieren.

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email:  i...@kierenmacmillan.info


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Re: define-music-function -> unexpected EVENT_FUNCTION

[and...@andis59.se]

Hello Klaus,

On 2015-01-26 22:08, Klaus Blum wrote:

Hi Anders,

the "\rightHandFinger" command can only be used for a single note, not for a
whole "music" expression that could also be a chord or a sequence of notes
and rests.
Replacing "ly:music?" by "ly:pitch?" should do the trick:


Aha! I thought about this but I never tried it...

Can you please direct me to where in the documentation this is specified!


%
-
\version "2.19.15"

meTrans =
#(define-music-function (parser location mus txt) (ly:pitch? string?)
#{
  \transpose c cis $mus \rightHandFinger
\markup\normal-text\bold\fontsize #0 $txt
#}
)


   {
   \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
"A"
   \meTrans c' "a"
   }
%
-

This function is almost what I need. I would need to be able to write
{
< e' \meTrans a'\5 "A" \meTrans cis'\6 "F" >2. e'4
}

Which doesn't work. Since \5 isn't a pitch it's a string-number (Yes I'm 
doing Tab)


It doesn't seems like a'\5 counts as a ly:music. Just the a' is the 
music and \5 is a string-number.




If you want to transpose more than just one note, you should split things
up:
One function to apply the fingering markup on single notes, another function
to transpose the whole music expression:



If it's possible I would like to have one function only.
I have already made some shortcuts that has the txt param as a constant.
So I can call
\pedA c'

Where pedA =
#(define-music-function (parser location mm)(ly:pitch?)
  #{ \pedalAction "A" $mm #})

In the real code I have switched the params and meTrans is called 
pedalAction


so the music above will be written
< e' \pedA a'\5  \pedF cis'\6  >2. e'4

(Yes, I'm still fiddling with my Pedal Steel Guitar Tab mode)



--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.

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Re: sus7 chords in \chordmode

[Flaming Hakama by Elaine]

On Mon, Jan 26, 2015 at 1:43 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi all,
>
> On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine <
> ela...@flaminghakama.com> wrote:
> > why I personally prefer the sus7 notation (besides economy with no lack
> of clarity)
>
> I disagree about the lack of clarity:
>
> From C7sus4, I infer that we have a C7 chord (i.e., dominant 7th)
>

Precisely my point: we DON'T have a dominant chord here.  The starting
assumption is wrong.

Sus chords do not function as dominant chords.  Neither in terms of their
character of having a tritone that "wants" to resolve (which is why you can
say that chords like aug7 and 7b5 are still "dominant", even though they
are likewise not identical) nor in terms of their function.   Which is to
say, sus chords traditionally prepare a dominant chord, making them serve a
subdominant function.



> From Csus7, I infer that we have a C chord (i.e., triad) with a suspension
> at the 7th (which suggests a resolution to the 6rd, if it resolves at all).
>

In this sense, the only ambiguity is that you imagine "sus" to be a
modifier of what comes after it, rather than as a description of a chord
type.  Consider every other chord type:  maj, min, aug, dim, half-dim.  In
all cases, syntactically the chord type symbol modifies the root, which
comes before it, not the extensions/alterations that come after.   Yet,
when this symbol is "sus", you want to say that the sus modifies what comes
after it.   Why the discrepancy?

I suppose this highlights why I advocate for a lexical difference between
the chord type and extensions.  The default format of putting both the
chord type and the extensions in a single string of superscript confuses
what should be two distinct sets of information.

(Also, what is wrong with interpreting that the 7th resolve to a 6th?  That
seems pretty coherent.)



> Although Gould (frustratingly!) has essentially nothing to say about
> chords, I think her philosophy regarding subito dynamics (use “p sub.” and
> not “sub p.”) applies well: since the vast majority of us read music
> (including chord symbols) from left to right, and it’s more important to
> play (e.g.,) an unaltered C7 than a C sus triad without the 7th, it’s
> better to describe the full shape of the chord first
>

Well, we'll have to agree to disagree about this.  IMHO, it is far, far,
*far* worse to play a C major triad when a C7sus4 is specified than to play
a Csus4 and omit the 7th.  The absence or presence of the seventh does not
affect the chord quality (it does not affect its function) whereas playing
the 3rd instead of the 4th changes it from a dominant function to more like
a subdominant function.

I agree with the analogy, but interpret it the other way:  the equivalent
of "p" (the type of dynamic) is the chord type, which in this case is
"sus",  and the modifier "sub." has an equivalent to the extensions (in
this case "7").



All the best,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
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Re: How to get lyrics to skip measures?

[Trevor Daniels]

Kieren MacMillan wrote Monday, January 26, 2015 10:35 PM

>> I think that I need to somehow include spacers to skip over the whistle part 
>> but I'm getting errors when I try that.
> 
> \new Lyrics \lyricsto "Women" {
>\verseOneLyrics
>\repeat unfold 4 { \skip 8 }
>\verseTwoLyrics
>  }

Or, if there are only a few notes to skip, use an underscore for each one:

  \new Lyrics \lyricsto "Women" {
\verseOneLyrics
_ _ _ _
\verseTwoLyrics
  }

Trevor
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Re: Rehearsal marks and grace notes at the beginning of bars

[Cynthia Karl]

> 
> Message: 4
> Date: Sun, 25 Jan 2015 22:22:02 -0800
> From: Flaming Hakama by Elaine 
> To: lilypond-user@gnu.org
> Subject: Rehearsal marks and grace notes at the beginning of bars
> Message-ID:
>   
> Content-Type: text/plain; charset="utf-8"
> 
> Hello everyone,
> 
> I ran into a problem today when I had an instrument with grace notes.
> It made rehearsal marks between different instruments not line up, printing
> duplicate rehearsal marks.
> 
> The fix was to put the grace notes before the rehearsal mark.
> 
> I was just wondering if this was expected behavior.

See v.2.19.15 Notation Manual, Section 1.2.6, "Special rhythmic concerns", 
subsection "Grace notes", subsubsection "Known issues and warnings":  Grace 
note synchronization can also lead to surprises.  You just ran into a surprise.

LilyPond has problems when (I think) it gets into negative time on one staff 
and not on a concurrent one.  Grace notes apparently lead to negative time 
after bar lines.  The following snippet is equivalent to yours with all the 
stuff irrelevant to your issue removed, and shows the four possible cases:

\version "2.19.5"

violinOK = \relative c'' {
   \mark\default \grace e16  e4 r r2
}

violinBroken = \relative c'' {
  \grace e16 \mark\default e4 r r2
}

clarinetBroken = \relative c' {
  \mark\default R1
}

clarinetFixed = \relative c' {   
  \mark\default \grace s16 R1 
}

global = { \key g\major }

 \score {
<<
 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinOK }
 >>
 }

 \score {
<<
 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinOK }
   >>
 }
 
 \score {
   <<
 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinBroken }
   >>
 }
 
 \score {
   <<
 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinBroken }
   >>
 }

In my viewpoint, the original violin part wasn't broken, so it didn't need 
fixing.  The clarinet part needed the fixing.  So what you call violinBroken I 
call violinOK, your clarinet is my clarinetBroken, my clarinetFixed, which you 
don't have, follows the cited warnings, and your violinFixed is my violinBroken.

HTH.

Patrick Karl
> 
> \version "2.19.5"
> \include "english.ly"
> 
> violinBroken = \relative c'' {
>  \key d \minor
>  \numericTimeSignature
>  \time 4/4
>  \tempo 4=230
>  r2 r8 d8\f e [ a, ] \bar "||"
>  4-. a, e'-- d | -. a,8 -- ~   d4-. |  a,>4-. 2-> \grace { e16 ( d } cs8 ) d-. | r1 \bar "||"
> 
>  % With grace notes in the 'proper' place, we get duplcate marks in the
> wrong place
>  \mark \markup { \box Bridge }
>  \grace { e16 ( ds } cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as
> fs4-- | a?4-. a2-> r4 | r1 \bar "|."
> }
> 
> violinFixed = \relative c'' {
>  \key d \minor
>  \numericTimeSignature
>  \time 4/4
>  \tempo 4=230
>  r2 r8 d8\f e [ a, ] \bar "||"
>  4-. a, e'-- d | -. a,8 -- ~   d4-. |  a,>4-. 2-> \grace { e16 ( d } cs8 ) d-. | r1 \bar "||"
> 
>  % With grace notes in the 'improper' place, we get marks in the right
> place
>  \grace { e16 ( ds }
>  \mark \markup { \box Bridge }
>  cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as fs4-- | a?4-. a2-> r4 |
> r1 \bar "|."
> }
> 
> clarinet = \relative c' {
>  \key d \minor
>  \numericTimeSignature
>  \time 4/4
>  \tempo 4=230
>  r4 cs8\mf bf? a g f e \bar "||"
>  d4. d8 f a4 bf8 ~ | bf4 a bf cs | d4. d8 ~ d4 cs8 d | r1
>  \mark \markup { \box Bridge }
>  r1 | \grace { e16 ( ds } cs8 ds ) e fs as4-- cs-. | ds4-. r8 ds r4 ds ~ |
> ds fs8 ds cs b r4 \bar "|."
> }
> 
>  \score {
>  \new StaffGroup <<
>  \new Staff {
>\set Staff.instrumentName = #"Bb Clarinet"
>\transpose bf, c { \clarinet }
>  }
>  \new Staff {
>\set Staff.instrumentName = #"Violin"
>\violinBroken
>  }
>>> 
>  }
> 
>  \score {
>\new StaffGroup <<
>  \new Staff {
>\set Staff.instrumentName = #"Bb Clarinet"
>\transpose bf, c { \clarinet }
>  }
>  \new Staff {
>\set Staff.instrumentName = #"Violin"
>\violinFixed
>  }
>>> 
>  }
> 
> 
> 
> Thanks,
> 
> David Elaine Alt


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Re: How to get lyrics to skip measures?

[Chris Trahan]

On Mon, Jan 26, 2015 at 4:35 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Chris,
>
> > I think that I need to somehow include spacers to skip over the whistle
> part but I'm getting errors when I try that.
>
> \new Lyrics \lyricsto "Women" {
> \verseOneLyrics
> \repeat unfold 4 { \skip 8 }
> \verseTwoLyrics
>   }
>
> Hope this helps!
> Kieren.
> ___
>
> Kieren MacMillan, composer
> www:  
> email:  i...@kierenmacmillan.info
>
>
Thanks Kieren. That's what I tried in the 1st place but the actual musical
passage is not as simple as my example, so using \skip is very unwieldy.
It's a whole verse.

I did figure it out. I had to create a new voice context for the part that
is to be whistled.   I can then just set the lyrics to the "Women" voice
context and the lyrics automatically skip the Whistle section.

Here's a snippet of the actual code. It's not complete so it won't compile.
I'm beginning to understand contexts, finally!!!

womenMusic = {

  %% There's other music and code here.

  g8 a bf a | a4 a8 bf | c4 c | bf bf8 r | \break
  g8 a bf a | a4 a8 bf | c4 c | g4 r | \bar "||" \break

%% This creates the new voice context that will be skipped by setting
%% the women's lyrics to the "Women" voice context.

  \new Voice = "Whistle" {
g8\mark "All whistle" a bf g | a4 a8 bf | c4 c | bf bf8 r8 | \break
g8 a bf g | a4 a8 bf | c4 d | g, r | \bar "||" \break
  }

%% This reverts back to the original context.

  \oneVoice

%% And the rest of the piece follows.

  \key g \major
  g8^"Women" a b g | a4 a8 b | c4 c | b bf8 r8 | \break

%% The rest of the music is here.
}
  }
}

Now my score block is:

\score {
  \new ChoirStaff
  <<
\womenMusic
\new Lyrics
\lyricsto "Women" {
  \set stanza = #"1."
  \womenLyricOneTwo  % The same lyrics are used for V 1 & 2.
  \set stanza = #"2."
  \womenLyricOneTwo
}
\menMusic
\new Lyrics \lyricsto "Men" {
  \set stanza = #"2."
  \menLyricTwo
}
  >>
}

Thanks,
Chris
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Re: Ritardando and accelerando

[Kevin Barry]

On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo  wrote:

> I’m trying to add a Ritardando. I’ve searched the user manual and found
> some information but I do not understand how I use it. Exactly where do I
> write!?


Dear Peter,

I'm not sure I understand your question. The piece of code in your message
is correct. You should place \startTextSpan after the note you want the
rit. to begin on, and \stopTextSpan after the note on which it ends, and
the override should go somewhere before. Is that what you were asking?
Sorry if I misunderstood.

Kevin
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Re: define-music-function -> unexpected EVENT_FUNCTION

[Thomas Morley]

2015-01-26 23:55 GMT+01:00 and...@andis59.se :
> Hello Klaus,
>
> On 2015-01-26 22:08, Klaus Blum wrote:
>>
>> Hi Anders,
>>
>> the "\rightHandFinger" command can only be used for a single note, not for
>> a
>> whole "music" expression that could also be a chord or a sequence of notes
>> and rests.
>> Replacing "ly:music?" by "ly:pitch?" should do the trick:
>>
> Aha! I thought about this but I never tried it...
>
> Can you please direct me to where in the documentation this is specified!
>
>> %
>>
>> -
>> \version "2.19.15"
>>
>> meTrans =
>> #(define-music-function (parser location mus txt) (ly:pitch? string?)
>> #{
>>   \transpose c cis $mus \rightHandFinger
>> \markup\normal-text\bold\fontsize #0 $txt
>> #}
>> )
>>
>>
>>{
>>\transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize
>> #0
>> "A"
>>\meTrans c' "a"
>>}
>> %
>>
>> -
>
> This function is almost what I need. I would need to be able to write
> {
> < e' \meTrans a'\5 "A" \meTrans cis'\6 "F" >2. e'4
> }
>
> Which doesn't work. Since \5 isn't a pitch it's a string-number (Yes I'm
> doing Tab)
>
> It doesn't seems like a'\5 counts as a ly:music. Just the a' is the music
> and \5 is a string-number.
>
>>
>> If you want to transpose more than just one note, you should split things
>> up:
>> One function to apply the fingering markup on single notes, another
>> function
>> to transpose the whole music expression:
>>
>
> If it's possible I would like to have one function only.
> I have already made some shortcuts that has the txt param as a constant.
> So I can call
> \pedA c'
>
> Where pedA =
> #(define-music-function (parser location mm)(ly:pitch?)
>   #{ \pedalAction "A" $mm #})
>
> In the real code I have switched the params and meTrans is called
> pedalAction
>
> so the music above will be written
> < e' \pedA a'\5  \pedF cis'\6  >2. e'4
>
> (Yes, I'm still fiddling with my Pedal Steel Guitar Tab mode)
>
>

How about:

\version "2.19.15"

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
  (if (music-is-of-type? mus 'note-event)
  (ly:music-set-property! mus 'articulations
(cons
  #{ \rightHandFinger \markup\normal-text\bold\fontsize #0 $txt #}
  (ly:music-property mus 'articulations)))
  (ly:warning "mus is not a note-event, ignoring"))
  ;(display-scheme-music mus)
   #{
 \transpose c cis $mus
   #})


{
  \transpose c cis
  c'\5 \rightHandFinger \markup\normal-text\bold \fontsize #0 "A"

  \meTrans c'\5 "a"
}

Needs further testing, though.

Cheers,
  Harm

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Re: staccato dots and slurs in second voice

[David Nalesnik]

On Mon, Jan 26, 2015 at 9:33 AM, David Nalesnik 
wrote:


>  I have something which is almost ready to be reviewed, but I need to get
> several patches pushed and into current master first.
>
>
A patch is up for review: see
https://code.google.com/p/lilypond/issues/detail?id=2535

--David
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Re: sus7 chords in \chordmode

[Kevin Barry]

On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine <
ela...@flaminghakama.com> wrote:

> (Also, what is wrong with interpreting that the 7th resolve to a 6th?
> That seems pretty coherent.)


This allows for two possible interpretations of the same symbol, which is
why it is preferable to specify the chord (C7) and the suspension (sus or
sus4) separately: putting the `sus' in between `C' and `7' makes it unclear
whether it applies to the seventh or to the fourth.

The absence or presence of the seventh does not affect the chord quality
> (it does not affect its function)


I have to disagree with this: there are plenty of situations where adding a
seventh does indeed change the chord's function.

Of course, getting any of the notes wrong is regrettable, which is why
unambiguity (i.e. C7sus4 IMO) is so desirable.

Kevin
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Re: Rehearsal marks and grace notes at the beginning of bars

[Flaming Hakama by Elaine]

Patrick,

Thanks for your explanation and advice.

The only question I have is in terms of what you consider to be the
appropriate fix, which amounts to adding grace note rests to every other
part.

In this case, it is not much of an issue since this is just a trio piece.
But if I were working on a larger orchestration, this seems like kind of a
lot of work, modifying every other part, rather than just modifying the one
part that has the grace notes.

I am wondering if I am missing something about the character of the problem
and the solution that makes you recommend the grace note rest approach,
rather than tweaking the order of the grace notes and rehearsal mark in the
part that actually has them?


Thanks,


> From: Cynthia Karl 
> Subject: Re: Rehearsal marks and grace notes at the beginning of bars
>
> > From: Flaming Hakama by Elaine 
> > To: lilypond-user@gnu.org
> > Subject: Rehearsal marks and grace notes at the beginning of bars
> >
> > Hello everyone,
> >
> > I ran into a problem today when I had an instrument with grace notes.
> > It made rehearsal marks between different instruments not line up,
> printing
> > duplicate rehearsal marks.
> >
> > The fix was to put the grace notes before the rehearsal mark.
> >
> > I was just wondering if this was expected behavior.
>
> See v.2.19.15 Notation Manual, Section 1.2.6, "Special rhythmic
> concerns", subsection "Grace notes", subsubsection "Known issues and
> warnings":  Grace note synchronization can also lead to surprises.  You
> just ran into a surprise.
>
> LilyPond has problems when (I think) it gets into negative time on one
> staff and not on a concurrent one.  Grace notes apparently lead to negative
> time after bar lines.  The following snippet is equivalent to yours with
> all the stuff irrelevant to your issue removed, and shows the four possible
> cases:
>
> \version "2.19.5"
>
> violinOK = \relative c'' {
>\mark\default \grace e16  e4 r r2
> }
>
> violinBroken = \relative c'' {
>   \grace e16 \mark\default e4 r r2
> }
>
> clarinetBroken = \relative c' {
>   \mark\default R1
> }
>
> clarinetFixed = \relative c' {
>   \mark\default \grace s16 R1
> }
>
> global = { \key g\major }
>
>  \score {
> <<
>  \new Staff { \global \clarinetBroken }
>  \new Staff { \global \violinOK }
>  >>
>  }
>
>  \score {
> <<
>  \new Staff { \global \clarinetFixed }
>  \new Staff { \global \violinOK }
>>>
>  }
>
>  \score {
><<
>  \new Staff { \global \clarinetBroken }
>  \new Staff { \global \violinBroken }
>>>
>  }
>
>  \score {
><<
>  \new Staff { \global \clarinetFixed }
>  \new Staff { \global \violinBroken }
>>>
>  }
>
> In my viewpoint, the original violin part wasn't broken, so it didn't need
> fixing.  The clarinet part needed the fixing.  So what you call
> violinBroken I call violinOK, your clarinet is my clarinetBroken, my
> clarinetFixed, which you don't have, follows the cited warnings, and your
> violinFixed is my violinBroken.
>
> HTH.
>





David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: Ritardando and accelerando

[Kevin Barry]

Dear Peter,

Yes the override /typically/ goes in with the notes, but you can put it in
different places depending on how many things you want it to effect (just
the current voice, or every voice in a score with many staves for example).
Lilypond often has more than one way to achieve a given goal.

When asking questions it is often a good idea to post a small snippet of
code that compiles on its own, so that we can better see what you are
trying to do, like the following (which illustrates how to use the snippet
you took from the manual):

\version "2.18.2"


\relative {

  \override TextSpanner.bound-details.left.text = \markup { \upright "rit."
}

  b1\startTextSpan c

  e,\stopTextSpan

}


Also, do try and send replies to the whole list, so everybody can pitch in
when you need help!


hth,

Kevin

On Tue, Jan 27, 2015 at 12:27 AM, Peter Danemo  wrote:

> Hi Kevin!
>
> Thanks for your reply! Ok, I think I got that part. What about the rest? I
> mean where do I put this?
>
> \override TextSpanner.bound-details.left.text =
>
>   \markup { \upright "rit.” }
>
> Is this also among the notes?
>
>
> Best wishes!
>
> /Peter
>
>
>
> Peter Danemo
> +46-70-653 21 91
> E-post: m...@danemo.com
> Web: danemo.com
>
>
>
>
>
> 27 jan 2015 kl. 00:55 skrev Kevin Barry :
>
>
> On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo  wrote:
>
>> I’m trying to add a Ritardando. I’ve searched the user manual and found
>> some information but I do not understand how I use it. Exactly where do I
>> write!?
>
>
> Dear Peter,
>
> I'm not sure I understand your question. The piece of code in your message
> is correct. You should place \startTextSpan after the note you want the
> rit. to begin on, and \stopTextSpan after the note on which it ends, and
> the override should go somewhere before. Is that what you were asking?
> Sorry if I misunderstood.
>
> Kevin
>
>
>
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Re: sus7 chords in \chordmode

[Tim McNamara]

This has perhaps become off-topic and I don’t wish to prolong that; however, I 
have to take issue with the idea that “sus” could somehow apply to the 7th.  It 
can’t.  Suspensions specifically apply to replacing the 3rd with either the 4th 
or the 2nd (the latter being rare except in folk music played on guitar in the 
first position, and even then only a few chords lend themselves to this).  The 
7th cannot be suspended; it can be flatted or natural, in which case this is by 
convention denoted as a 7th or major 7th; the term “sus” is never applied to 
the 7th.  There should be no possible ambiguity when “sus” and “7” are used in 
the same chord.  

The main problem for me with “x7sus4” as a chord name is its length; when there 
are four chord names in a bar, every character counts in terms of legibility.  
Things can get crowded fast.  (This came up in preparing a chart for the Vince 
Guaraldi song “Cast Your Fate To The Wind” in which all the chords in the 
soloing section are suspended dominants.  Lots and lots of them, actually 
sounds pretty terrible on guitar; works somewhat better on piano which was 
Guaraldi’s instrument, but IMHO seriously overdone on this song).

However, I find that when I give musicians lead sheets done by the 
Roemer-Brandt standards I never get any question about what any chord means.  
It may not be especially modern but it is certainly effective.

Tim


> On Jan 26, 2015, at 6:08 PM, Kevin Barry  wrote:
> 
> 
> On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine 
> mailto:ela...@flaminghakama.com>> wrote:
> (Also, what is wrong with interpreting that the 7th resolve to a 6th?  That 
> seems pretty coherent.)
> 
> This allows for two possible interpretations of the same symbol, which is why 
> it is preferable to specify the chord (C7) and the suspension (sus or sus4) 
> separately: putting the `sus' in between `C' and `7' makes it unclear whether 
> it applies to the seventh or to the fourth.
> 
> The absence or presence of the seventh does not affect the chord quality (it 
> does not affect its function)
> 
> I have to disagree with this: there are plenty of situations where adding a 
> seventh does indeed change the chord's function.
> 
> Of course, getting any of the notes wrong is regrettable, which is why 
> unambiguity (i.e. C7sus4 IMO) is so desirable.
> 
> Kevin 
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Re: sus7 chords in \chordmode

[Brett Duncan]

On 27/01/15 11:48 AM, Tim McNamara wrote:
The main problem for me with “x7sus4” as a chord name is its length; 
when there are four chord names in a bar, every character counts in 
terms of legibility.  Things can get crowded fast.  (This came up in 
preparing a chart for the Vince Guaraldi song “Cast Your Fate To The 
Wind” in which all the chords in the soloing section are suspended 
dominants.  Lots and lots of them, actually sounds pretty terrible on 
guitar; works somewhat better on piano which was Guaraldi’s 
instrument, but IMHO seriously overdone on this song).
Ah, this puts a slightly different spin on things. In a jazz piece like 
this, the idea of suspension is often interpreted a little differently - 
as Mark Levine explains it in the Jazz Piano Book, the notation "x7sus" 
refers to playing a major triad one tone lower than the root over the 
given root, e.g. G7sus would be an F triad over a G bass. The resulting 
chord contains the 7th, 4th and 9th. (Whether the 5th and 3rd are 
included is determined by the performer.)


So in this particular context, x7sus better reflects the composer's 
intentions than x7sus4.


Brett
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Re: sus7 chords in \chordmode

[Kevin Barry]

On Tue, Jan 27, 2015 at 12:48 AM, Tim McNamara  wrote:

> I have to take issue with the idea that “sus” could somehow apply to the
> 7th.  It can’t.  Suspensions specifically apply to replacing the 3rd with
> either the 4th or the 2nd (the latter being rare except in folk music
> played on guitar in the first position, and even then only a few chords
> lend themselves to this).  The 7th cannot be suspended;


I am not an expert on guitar chord notation, but more generally it is
possible for the 7th to be a suspension, for example the inganno
interruption (found in fugues and the like) produces a suspended seventh
that usually resolves to a 6th.

As to the second part of your post I would say you are probably better off
not removing items from chord symbols to save space unless you are
absolutely sure it will not create ambiguity (which responses here suggest
it might).
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Centering chord diagram at top of page

[stephan.patter...@videotron.ca]

Good evening,


I'm working on a lead sheet and I would like to show chord diagrams at 
the top of the page, as opposed to showing them over the staff for every 
chord. Here's a simplified version of my score...


\version "2.19.11"


\include "predefined-guitar-fretboards.ly"


global = {
 \time 4/4
 \override Staff.TimeSignature.style = #'()
 \key e \major
 \tempo 4=120
 
}




% Insert blank line
\markup {
 \fill-line {


 \center-column { 
 " "
 }


 }
}


% Define fretboard diagrams
mychorddiagrams = \chordmode {
 b1 a
}


<< 


 \context ChordNames {
 \mychorddiagrams
 } 
 
 \context FretBoards {
 \override FretBoards.FretBoard.size = #'1.2
 
 \mychorddiagrams
 }
 
>>




% Define chords
chordNames = \chordmode {
 \override ChordName.font-size = #2 
 
 \global
 % Section A
 b1*2 a1*2
 
}


% Define melody
melody = \relative c'' {
 \global
 % Start of section A
 \mark \markup{ \tiny \box A } 
 % bars 1-4
 r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a 
gis a~a gis e4 | \break
 
}


\score {
 <<
 \new ChordNames \chordNames
 \new Staff { \melody }
 >>
 \layout { indent = 0.0\cm }
 \midi { }
}


This is working fine except for one thing. I would like to center the 
chord diagrams horizontally on the page. I tried with the markup syntax 
that works for text but wasn't successful. Is this possible?


While we're at it, is there a more elegant way to leave a bit of extra 
space above or below the chord diagrams? I can insert a blank line but 
there has to be a better way.


Thanks for your help.
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1. Refrain before verses 2. words for descant

[James E. Bradley]

I am using a template for generating some hymns, and I can't figure out 
a couple of things.

The template that I use is below.
1. What do I need to do to have a refrain before the verses, so that the 
stanza numbering is with the verses and not the refrain? For refrains in 
the middle or end, I just lengthen one of the verses, and it works out ok.

2. What do I need to do to get words printing for a descant?

The sopranoTune and altsopranoTune are the same notes, but are used to 
lessen the hassle of alligning words to notes when you want to use 
eighth notes with bars, but have words for each note.


Thank you.



%meat of template
\version "2.18.2"

\include "english.ly"
hideFlag = \once \override Flag #'transparent = ##t
longStem = \once \override Stem #'length = #9

\header
{

  title = "Sample"

}


global = {
  \override Staff.TimeSignature #'style = #'()
  \time 4/4
  \key g \major

  \override Score.MetronomeMark #'stencil = ##f
  \tempo 4 = 120
}

sopWords = \lyricmode
{
  \override Score . LyricText #'font-size = #-1
  \override Score . LyricHyphen #'minimum-distance = #1
  \override Score . LyricSpace #'minimum-distance = #0.8
  \set stanza = "1. "
  %{   %}
  la la la la la la la la
}
sopWordsTwo = \lyricmode
{
  \set stanza = "2. "
  %{   %}
  da da da da
}
descantWords = \lyricmode
{
  \set stanza = "1. "
  la la la la
}

descantTune = {
  \relative c'' {
   a4 a a a
  }
}%{   %}
sopranoTune = {
  \relative c'' {
\autoBeamOff
\hideNotes \stemUp b8 b b b b b b b
  }
}
altsopranoTune = {
  \relative c'' {
\autoBeamOff
\stemUp b8[ b b] b[ b] b[ b b]
  }
}
altoTune = {
  \relative c' {
\autoBeamOff
\stemDown  d4 d d d
  }
}
tenorTune = {
  \relative c {
\autoBeamOff
\stemDown \longStem b'4 e, e \hideFlag e8 \hideFlag 8
  }
}
bassTune = {
  \relative c {
\autoBeamOff
\stemDown  fs,4 fs fs fs8 fs
  }
}

\score {
  <<
%comment out the following four lines if there is no descant/
\new Staff
   { \global
   \descantTune
 }
\new Staff
<<
  \new Voice = "sopranos" \with
  {
   }
  {
\voiceOne
\global
\sopranoTune
  }
  \new Voice = "altsopranos"
  {
\voiceOne
\altsopranoTune
  }
  \new Voice = "altos"
  {
\voiceTwo
\altoTune
  }

  \new Lyrics = sopranos { s1 }
  \new Lyrics = sopranosTwo { s1 }
  \new Lyrics = descants { s1 }
>>


\new Staff
<<
  \clef bass
  \new Voice = "tenors"
  {
\voiceThree
\global
\tenorTune
  }

  \new Voice = "basses" \with
  {
  }
  {
\voiceFour
\bassTune
  }
>>
\context Lyrics = sopranos \lyricsto sopranos \sopWords
\context Lyrics = sopranosTwo \lyricsto sopranos \sopWordsTwo
\context Lyrics = descants \lyricsto descants \descantWords
  >>
 }


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Re: repeat, alternative, partial and full bar

[Ali Cuota]

Dear Mats,

thanks, this is perfect. One time more amazed with the doc. I would
not have searched this in the doc.

The point is the common rythm of spanish Señor ten piedad (Kyrie)
Cristo ten piedad etc
Señor needs (better said: is generally solved with) an upbeat and is
repeated, Cristo needs a downbeat and is repeated, then again Señor
etc
Generally the composers write the repeats, but in this case I have to
write it with \repeat volta 2

Anyway this is solved,

Franck

2015-01-26 7:11 GMT-05:00, Mats Bengtsson :
>
> Ali Cuota  gmail.com> writes:
>
>>
>> Hello,
>>
>> I want to see exactly what shows this minimal example, except that the
>> "space" is not desired.
>> This is from an hymn melody and I do the SATB setting. So I would like
>> to have the original "optic". And with so short repeats, it doesnt
>> make sense to enlarge the alternative.
>> Now, without the s8, the half-note of alternative 2. begins in the
>> remaining half-beat and so the rest of the song.
>> Thats why.
>
> As has already been pointed out, the notation in your example doesn't
> really
> make sense, rhythmically. In particular, the second alternative would
> provide the second half of the bar starting before the first alternative,
> so
> the bar lines after the second repeat seem half a bar off, to me. Anyway,
> if
> you just want to avoid the space provided by s8, you could read about
> scaling durations at
> http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations.
> The resulting example would then be
> \relative c' {
> \partial 8
> \repeat volta 2 { d8 d4 d8 d }
> \alternative { { d4.*4/3 } { d2 } }
> d8 d8 d8 d8 d2
> }
>
> /Mats
>
>
>> Thanks in advance
>>
>> Franck
>>
>> 2015-01-26 1:58 GMT-05:00, Brian Barker  btinternet.com>:
>> > At 19:54 25/01/2015 -0500, you wrote:
>> >>I wonder how to codify correctly this minimal example:
>> >
>> > That depends on what you want to see!
>> >
>> >>the s8 is here to fullfill the bar, but take some space and should not.
>> >
>> > o Why do you think you need this? If you want to go back to the
>> > starting quaver upbeat, it's important that the first-time bar is
>> > *not* complete. But that would mean that the repeat bar-line comes at
>> > a point within a bar, not at the end. The second-time part would have
>> > to start with a partial bar of only a quaver length.
>> >
>> > o Your first-time bar (as marked) is half a bar. Is this ever
>> > permissible? None of Elaine Gould's examples show this.
>> >
>> > o With the first-time bar being only the second half of a bar, the
>> > minim at the start of the second-time version completes the bar and
>> > should be followed by a bar line. Then the four barred quavers and
>> > the final minim should be a contiguous bar - with no intervening
>> > bar-line. Is that what you mean?
>> >
>> >>Is there a better way?
>> >
>> > Yes - but that depends on exactly what you mean. I started to try to
>> > correct this, but that's not possible without knowing how you think
>> > it should actually expand.
>> >
>> > Brian Barker - privately
>> >
>> >
>>
>
>
>
>
>
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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

[Ali Cuota]

Hello,

Here it is, although this is a little longer. The attachment is what I get.
I need bigger gregorian scores to fit in the rest of the book (common
western notation).

\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"
  f
  \[ g \pes a \] a
-\tweak Y-offset #-.2 \ictus
d' c'
  \[ c' \flexa
\tweak Accidental.X-offset #-5.2 bes
\] a
  \[ a
-\tweak Y-offset #1.8 \episemInitium
\flexa g \episemFinis \]
  \divisioMaior
  s a \tweak Accidental.X-offset #-1.4 bes a
  \[ g \flexa f \] e
  \[ f \flexa e \] \augmentum d
  \finalis
  %%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto "cantus"
{
  Ro -- ra -- _ te "* cœ" -- \markup{li \with-color #white b} de
-- _ su -- per _
  et nu -- bes plu -- _ ant Jus -- _ tum.
}
  >>
\layout {
ragged-last = ##f
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
  \context {
   \Lyrics
   \override LyricText #'font-size = #1
  }
  }
}

2015-01-26 16:34 GMT-05:00, Schneidy :
> Hi Franck,
> please provide a compilable example.
>
> Cheers,
> Pierre
>
>
>
> -
> ~Pierre
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Tim,

> I find that when I give musicians lead sheets done by the Roemer-Brandt 
> standards I never get any question about what any chord means.

I used to use the triangle — which I personally love for its compactness and 
clarity — but I got so many questions about what it meant that I finally gave 
up on it.

Cheers,
Kieren.
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Kevin,

> This allows for two possible interpretations of the same symbol, which is why 
> it is preferable to specify the chord (C7) and the suspension (sus or sus4) 
> separately: putting the `sus' in between `C' and `7' makes it unclear whether 
> it applies to the seventh or to the fourth. […]
> I have to disagree with this: there are plenty of situations where adding a 
> seventh does indeed change the chord's function.
> Of course, getting any of the notes wrong is regrettable, which is why 
> unambiguity (i.e. C7sus4 IMO) is so desirable.

+1

Best,
Kieren.
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Elaine,

> Precisely my point: we DON'T have a dominant chord here.  The starting 
> assumption is wrong.

To every player I’ve ever played with — and that’s a lot, in both jazz and 
musical theatre bands — the chord  is a dominant 7th with alteration.

> Yet, when this symbol is "sus", you want to say that the sus modifies what 
> comes after it. Why the discrepancy?

There is no discrepancy at all: “Amin” implies “a triad, built on A, in the 
minor mode”; “Asus4” implies “a triad, built on A, with a suspended 4th”; 
“A7sus4” implies “a dominant seventh chord, built on A, with a suspended 4th” — 
completely consistent. In the latter two cases, “sus” modifies the chord that 
comes before it (i.e., the major or minor triad, or dominant 7), just like the 
“min” modifies the chord that comes before it in the first case.

Cheers,
Kieren.

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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Elaine,

> IMHO, it is far, far, *far*

Three “fars”… that’s pretty far.  =)

> worse to play a C major triad when a C7sus4 is specified than to play a Csus4 
> and omit the 7th.

Did you even read what I wrote before replying? This is what I actually wrote:

> it’s more important to play (e.g.,) an unaltered C7 than a C sus triad 
> without the 7th

Exactly where in there did I suggest that one should play a “C major triad”?

> playing the 3rd instead of the 4th changes it from a dominant function to 
> more like a subdominant function

Wait… what? Playing  makes it a dominant function, and playing  (i.e., playing the 3rd instead of the 4th) makes it subdominant? When  is the actual definition of a dominant 7th? I’m seriously confused…

Kieren.
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Kevin,

> it is possible for the 7th to be a suspension, for example the inganno 
> interruption (found in fugues and the like) produces a suspended seventh that 
> usually resolves to a 6th.

Indeed, most [classical] music theory texts include entire sections of chapters 
devoted to this suspension, which arose (if I recall correctly) in species 
counterpoint and was used extensively through the Renaissance and Baroque and 
well into to the Classical period.

Cheers,
Kieren.
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Re: sus7 chords in \chordmode

[Kieren MacMillan]

Hi Elaine,

> what is wrong with interpreting that the 7th resolve to a 6th?  That seems 
> pretty coherent.

Agreed! I see absolutely nothing wrong with that, and didn’t intend to imply 
otherwise. I was just pointing out that applying consistent assumptions about 
voice-leading and traditional suspension resolutions highlights the ambiguity 
in the notation “Csus7”: it could mean

 + b, suggesting a [fixed-root] resolution to  + a  (i.e., 
7-6 sus)

or

+ f, suggesting a [fixed-root] resolution to  + e (i.e., 
4-3 sus)

That’s why I strongly prefer the notation “Csus7” (or even something like the 
awkward “Csus+7”) only if you mean the [relatively rare] first example, and 
“C7sus4” if you mean the [far more common] second example.

Cheers,
Kieren.
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Re: Centering chord diagram at top of page

[Pierre Perol-Schneider]

Hi Stephan,

how about:

\version "2.19.11"

\include "predefined-guitar-fretboards.ly"

global = {
  \time 4/4
  \override Staff.TimeSignature.style = #'()
  \key e \major
  \tempo 4=120

}

% Insert blank lines between header and chords
\markup\vspace #3

% Define fretboard diagrams
mychorddiagrams = \chordmode {
  b1*2 a
}

%% Page centered chords as markup:
\markup \fill-line {
  \score {
<<
  \context ChordNames {
\mychorddiagrams
  }
  \context FretBoards {
\override FretBoards.FretBoard.size = #'1.2
\mychorddiagrams
  }
>>
\layout {}
  }
}

% Insert blank lines beteen chords and score
\markup\vspace #3

% Define chords
chordNames = \chordmode {
  \override ChordName.font-size = #2

  \global
  % Section A
  b1*2 a1*2

}

% Define melody
melody = \relative c'' {
  \global
  % Start of section A
  \mark \markup{ \tiny \box A }
  % bars 1-4
  r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a
gis a~a gis e4 | \break

}

\score {
  <<
\new ChordNames \chordNames
\new Staff { \melody }
  >>
  \layout { indent = 0.0\cm }
  \midi { }
}

HTH,
Pierre

2015-01-27 2:53 GMT+01:00 stephan.patter...@videotron.ca <
stephan.patter...@videotron.ca>:

> Good evening,
>
> I'm working on a lead sheet and I would like to show chord diagrams at
> the top of the page, as opposed to showing them over the staff for every
> chord. Here's a simplified version of my score...
>
> \version "2.19.11"
>
> \include "predefined-guitar-fretboards.ly"
>
> global = {
>   \time 4/4
>   \override Staff.TimeSignature.style = #'()
>   \key e \major
>   \tempo 4=120
>
> }
>
>
> % Insert blank line
> \markup {
>   \fill-line {
>
> \center-column  {
>   " "
> }
>
>   }
> }
>
> % Define fretboard diagrams
> mychorddiagrams = \chordmode {
>   b1 a
> }
>
> <<
>
>   \context ChordNames {
> \mychorddiagrams
>   }
>
>   \context FretBoards {
> \override FretBoards.FretBoard.size = #'1.2
>
> \mychorddiagrams
>   }
>
> >>
>
>
> % Define chords
> chordNames = \chordmode {
>   \override ChordName.font-size = #2
>
>   \global
>   % Section A
>   b1*2 a1*2
>
> }
>
> % Define melody
> melody = \relative c'' {
>   \global
>   % Start of section A
>   \mark \markup{ \tiny \box A }
>   % bars 1-4
>   r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a
> gis a~a gis e4 | \break
>
> }
>
> \score {
>   <<
> \new ChordNames \chordNames
> \new Staff { \melody }
>   >>
>   \layout { indent = 0.0\cm }
>   \midi { }
> }
>
> This is working fine except for one thing. I would like to center the
> chord diagrams horizontally on the page. I tried with the markup syntax
> that works for text but wasn't successful. Is this possible?
>
> While we're at it, is there a more elegant way to leave a bit of extra
> space above or below the chord diagrams? I can insert a blank line but
> there has to be a better way.
>
> Thanks for your help.
>
>
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Re: Ritardando and accelerando

[Peter Danemo]

Hi Again Kevin!

Ok, thanks! I’ll give this a try once more.

Best wishes!
/Peter

Peter Danemo
+46-70-653 21 91
E-post: m...@danemo.com
Web: danemo.com





> 27 jan 2015 kl. 01:35 skrev Kevin Barry :
> 
> Dear Peter,
> 
> Yes the override /typically/ goes in with the notes, but you can put it in 
> different places depending on how many things you want it to effect (just the 
> current voice, or every voice in a score with many staves for example). 
> Lilypond often has more than one way to achieve a given goal.
> 
> When asking questions it is often a good idea to post a small snippet of code 
> that compiles on its own, so that we can better see what you are trying to 
> do, like the following (which illustrates how to use the snippet you took 
> from the manual):
> 
> \version "2.18.2"
> 
> \relative {
>   \override TextSpanner.bound-details.left.text = \markup { \upright "rit." }
>   b1\startTextSpan c
>   e,\stopTextSpan
> }
> 
> Also, do try and send replies to the whole list, so everybody can pitch in 
> when you need help!
> 
> hth,
> Kevin
> 
> On Tue, Jan 27, 2015 at 12:27 AM, Peter Danemo  > wrote:
> Hi Kevin!
> 
> Thanks for your reply! Ok, I think I got that part. What about the rest? I 
> mean where do I put this? 
> 
> \override TextSpanner.bound-details.left.text =
>   \markup { \upright "rit.” }
> Is this also among the notes?
> 
> Best wishes!
> /Peter
> 
> 
> Peter Danemo
> +46-70-653 21 91 
> E-post: m...@danemo.com 
> Web: danemo.com 
> 
> 
> 
> 
> 
>> 27 jan 2015 kl. 00:55 skrev Kevin Barry > >:
>> 
>> 
>> On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo > > wrote:
>> I’m trying to add a Ritardando. I’ve searched the user manual and found some 
>> information but I do not understand how I use it. Exactly where do I write!?
>> 
>> Dear Peter,
>> 
>> I'm not sure I understand your question. The piece of code in your message 
>> is correct. You should place \startTextSpan after the note you want the rit. 
>> to begin on, and \stopTextSpan after the note on which it ends, and the 
>> override should go somewhere before. Is that what you were asking? Sorry if 
>> I misunderstood.
>> 
>> Kevin
> 
> 

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Re: \startTrillSpan without the tr at the beginning?

[Noeck]

Hi,

this line interface documentation can be found here:
http://www.lilypond.org/doc/v2.18/Documentation/internals/line_002dinterface

Other fonts’ glyphs can also be used to draw wiggles [1]:
http://lilypondblog.org/wp-content/uploads/2014/01/wiggles.pdf
like

% having the font and installed the openlilylib snippets in place
\include "custom-music-fonts/smufl/definitions.ily"
{
  a^\markup \concat {
\smuflglyph #"wiggleTrillFastest"
\smuflglyph #"wiggleTrillFasterStill"
\smuflglyph #"wiggleTrillFaster"
\smuflglyph #"wiggleTrillFast"
\smuflglyph #"wiggleTrill"
\smuflglyph #"wiggleTrillSlow"
\smuflglyph #"wiggleTrillSlower"
\smuflglyph #"wiggleTrillSlowerStill"
\smuflglyph #"wiggleTrill"
\smuflglyph #"wiggleTrillFaster"
\smuflglyph #"wiggleTrillFasterStill"
\smuflglyph #"wiggleTrillFastest"
  }
}

This has a fixed width however and is not as comfortable as a trill span. I
would be interested in how to do the wiggles in the wiggles.pdf above in ‘pure’
LilyPond. Though I don’t need it now, it might be helpful for Richard’s 
question.

Cheers,
Joram



[1]: from http://lilypondblog.org/2014/02/feta-and-bravura/

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Re: Ritardando and accelerando

[Noeck]

Hi Peter,

just to give you some alternatives at hand:
1. The override can be defined earlier if you want the music part of your file
to look cleaner/shorter.
2. If you do not need/want the spanner lines, a simple text ^"..." does the 
trick.
3. This text (as well as the spanner text) can be formatted, e.g. with italics.


\version "2.18.2"

rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
"rit." } }

\relative {
  % use the definition above
  \rit
  b1\startTextSpan c
  e,\stopTextSpan
  % simple annotation without spanner
  c'^"rit."
  % same in italics
  c^\markup \italic "rit."
}


HTH,
Joram


PS: Wouldn’t it be nice to have these commands (or similar):
b1\startText "rit." c e,\stopText

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Re: Ritardando and accelerando

[Peter Danemo]

Hi Joram!

Thanks a lot! That looks both cleaner and easier, at least for me to 
understand! Yes, I would love to have command like this! That would be really 
nice.

Best wishes!
/Peter

Peter Danemo
+46-70-653 21 91
E-post: petedom...@gmail.com
Web: danemo.com




> 27 jan 2015 kl. 07:12 skrev Noeck :
> 
> Hi Peter,
> 
> just to give you some alternatives at hand:
> 1. The override can be defined earlier if you want the music part of your file
> to look cleaner/shorter.
> 2. If you do not need/want the spanner lines, a simple text ^"..." does the 
> trick.
> 3. This text (as well as the spanner text) can be formatted, e.g. with 
> italics.
> 
> 
> \version "2.18.2"
> 
> rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
> "rit." } }
> 
> \relative {
>  % use the definition above
>  \rit
>  b1\startTextSpan c
>  e,\stopTextSpan
>  % simple annotation without spanner
>  c'^"rit."
>  % same in italics
>  c^\markup \italic "rit."
> }
> 
> 
> HTH,
> Joram
> 
> 
> PS: Wouldn’t it be nice to have these commands (or similar):
> b1\startText "rit." c e,\stopText
> 
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Re: Ritardando and accelerando

[Noeck]

> Yes, I would love to have command like this! That would be really nice.

Hi,

I tried this, but unfortunately it does not work:

\version "2.18.2"

startText = #(define-music-function (parser location text notes)(markup? 
ly:music?)
   #{
 \override TextSpanner.bound-details.left.text =  #text
 #notes
 \startTextSpan
   #})
stopText = \stopTextSpan


\relative {
  \startText "rit"
  b1 c
  e,\stopText
}

I don’t know why. The \startTextSpan in the music-function causes this error:
syntax error, unexpected EVENT_IDENTIFIER


This works, however it is only half way to the solution:

startText = #(define-music-function (parser location text)(markup?)
   #{ \override TextSpanner.bound-details.left.text =  #text #})

\relative {
  \startText "rit"
   b1 \startTextSpan c
  e,\stopTextSpan
}

Cheers,
Joram

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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

[Noeck]

Hi,

do you really want the note heads to be bigger than the staff space (see second
neume)? And the clefs, accidentals so small? Or is this just an incomplete
workaround because the staff size change did not work for you?

#(layout-set-staff-size 30) works for me if I write it in your layout block:

\layout {
  #(layout-set-staff-size 30)
  ...
}

That’s where it belongs. Perhaps the lyrics font size needs to be adjusted then.

Cheers,
Joram

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Re: Ritardando and accelerando

[Peter Danemo]

Hi Joram!

This worked if I use this: rit = { \override 
TextSpanner.bound-details.left.text = \markup { \upright "ritardando" } }

and  b1\startTextSpan e,\stopTextSpan

One question more. The ritardando starts in the forth bar of one system and 
goes on 2 bars in the next system. Now it says ”ritardando” in both systems. 
Very confusing and unnecessary. How do I get rid of the second ritardando? 



All best!
/Peter


Peter Danemo
+46-70-653 21 91
E-post: petedom...@gmail.com
Web: danemo.com




> 27 jan 2015 kl. 07:12 skrev Noeck :
> 
> Hi Peter,
> 
> just to give you some alternatives at hand:
> 1. The override can be defined earlier if you want the music part of your file
> to look cleaner/shorter.
> 2. If you do not need/want the spanner lines, a simple text ^"..." does the 
> trick.
> 3. This text (as well as the spanner text) can be formatted, e.g. with 
> italics.
> 
> 
> \version "2.18.2"
> 
> rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
> "rit." } }
> 
> \relative {
>  % use the definition above
>  \rit
>  b1\startTextSpan c
>  e,\stopTextSpan
>  % simple annotation without spanner
>  c'^"rit."
>  % same in italics
>  c^\markup \italic "rit."
> }
> 
> 
> HTH,
> Joram
> 
> 
> PS: Wouldn’t it be nice to have these commands (or similar):
> b1\startText "rit." c e,\stopText
> 
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