Re: A file's information or statistics

[Pierre Perol-Schneider]

Hi Dave,

Maybe you'll find some answers here :
- http://lsr.di.unimi.it/LSR/Item?id=197
-
http://lilypond.1069038.n5.nabble.com/How-to-count-the-number-of-notes-in-a-ly-file-td155526.html

Cheers,
Pierre





2015-03-08 21:17 GMT+01:00 Dave Higgins :

> Is there a way to display various stats of a piece, e.g. number of notes
> or other such information?
> --
> Dave Higgins
> Littleton, Colorado
> dave.higg...@dkds.us
> See my photos at
> https://www.dkds.us/gallery3
> --
> http://www.geocaching.com/profile/?guid=60ac8b65-d115-
> 42b7-9363-f2dff0c863cf
> --
> I want to kill everyone here with a cute colorful Hydrogen Bomb!!
>
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Re: ANN: Frescobaldi 2.18

[Simon Albrecht]

Hello,

for whatever reason I keep running into problems whenever I try to 
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 and 
python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed them 
following the instructions, without any extra options. Then I deleted 
the ~/frescobaldi-2.0.15/ directory containing the old installation, but 
still Frescobaldi is complaining about not being able to find the 
correct version of python-ly. How can I go on?


TIA, Simon

Am 07.03.2015 01:18, schrieb Wilbert Berendsen:

Dear friends,

I am happy to announce the immediate availability of Frescobaldi 2.18.

Homepage: http://frescobaldi.org/
Download: https://github.com/wbsoft/frescobaldi/releases

Major installation changes:

* Python 3.2 and higher are supported and recommended. Of course you
   should also install PyQt4 and python-poppler-qt4 for Python 3.
   Python 2.7 is also supported, and will continue to be supported for
   all coming 2.x Frescobaldi releases.

* Frescobaldi now needs the python-ly package to be installed.
   Previously, this module was part of Frescobaldi.

   When you overwrite an older Frescobaldi installation, you should make
   sure that no old files remain in the file system. Otherwise,
   Frescobaldi can't run because it finds the old frescobaldi_app/ly
   module instead of the much newer one installed by Python-ly.

   So, installing python-ly[1] and doing a clean Frescobaldi install is
   necessary.  (The Windows Frescobaldi installer contains everything,
   including python-ly.)

   [1] https://pypi.python.org/pypi/python-ly

Most important new features:
* Midi import, using the LilyPond-provided midi2ly tool
* ABC import, using the LilyPond-provided abc2ly tool
* In the Editor Preferences, you can select which quotes will be used
   as single and double (primary and secondary) typographical quotes
   (issue #529)
* The music view now can display a PDF document with two pages next
   to each other, starting with a right or left page, and in single
   pages (issue #575)
* A new pitch tool, Mode shift, which can be used to change all or
   selected notes to a specified mode or scale.
* Commands to convert rests to spaces or vice versa, and to convert
   pitched rests (like c'4\rest) to normal rests, contributed by Peter
   Bjuhr.
* Command to open LilyPond data directory (useful if you want to
   study Lily's own init- and Scheme files).

Improvements:
* The Insert menu got renamed to Snippets, making more clear how it
   is used and can be changed. When copying text to a new snippet, the
   snippet is added to the menu by default, but the user can change that
   while editing.
* Ctrl+Break (LilyPond → Abort Engraving Job) also stops an
   autocompile job if one is running.
* The SVG View now displays a default gray background when no
   document is loaded, which is more helpful than a white background.
* When right-clicking in the editor, the editor does not scroll
   anymore to show more surrounding lines.
* Multi-line block comments are now also foldable (issue #587)
* The magnifying glass in the Music View does not clip to the page
   borders anymore, which was annoying when showing many pages in a
   small size.
* To save space in the toolbar, the almost never used Save As...
   button was removed. But when holding the Save button longer, three
   choices pop up: Save, Save As and Save All.
* Ctrl-Mousewheel zooming the LilyPond Log now works properly.

Bugfixes:
* The german ("deutsch") pitch names asas and heses are now handled
   correctly. Previously, when translating the "nederlands" beses to
   german, it was output as bes, instead of heses. Same for "norsk" and
   "suomi" (issue #415)
* If the preference "Open default viewer after successful compile" is
   enabled, the viewer to be opened is determined from the actual
   results, instead of the default output format. This fixes the PDF
   view opening instead of the SVG view, when the SVG format was chosen
   in the Engrave Custom dialog.
* fix AttributeError: 'unicode' object has no attribute 'insert' (issue
   #543)
* the transpose functions will not transpose the chord after
   \stringTuning anymore (issue #539).
* fix error when opening a "recent file" that has been deleted (issue
   #597)
* Quick Insert articulations etc. now also work with q (repeated)
   chords (issue #628, fixed in python-ly)
* Quick Insert: do not add articulation to the duration of a \tuplet
   command (issue #631, fixed in python-ly)

Frescobaldi team member Pavel Roskin has done much work to make Python
3 support a reality. Thanks!

Enjoy!
Wilbert Berendsen (main author and core developer) and the Frescobaldi
team:
- Pavel Roskin (the python3 man and much testing and checking)
- Peter Bjuhr (the MusicXML man)
- Urs Liska (the layout control man)
- Davide Liessi (keeps Frescobaldi on OS X going)

Thanks go to all other contributors, bug hunters and translators!

Re: Please help

[magohq]

*code does not work in the bass clef for example: *

*Key signature are not these lines*

\version "2.17.95"

alternativeKey =
#(define-music-function (parser location p-1 p-2 scale-def)
 (ly:pitch? ly:pitch? list?)
#{
  \override Staff.KeySignature #'stencil =
   #(lambda (grob)
  (let* ((staff-space (ly:staff-symbol-staff-space grob))
 (line-thickness (ly:staff-symbol-line-thickness grob))
 (th line-thickness)
 (default-stil (ly:key-signature-interface::print grob))
 ;; To avoid programming error @code{(markup #:null)} is
returned if
 ;; the scale would not result in printed KeySignature.
 ;; TODO: add the other scales: ionian, locrian etc
 (stil-to-add
   (grob-interpret-markup grob
 (if (or (and (= (ly:pitch-notename p-2) 5)
  (eq? scale-def minor))
 (and (= (ly:pitch-notename p-2) 0)
  (eq? scale-def major)))
 (markup #:null)
 #{
   \markup
 \score {
   { \key $p-2 $scale-def }
   \layout {
 \override Staff.TimeSignature #'stencil = ##f
 \override Staff.Clef #'stencil = ##f
 \override Staff.StaffSymbol #'line-count = #0
 indent = 0
   }
   }
 #})
 ))
 (stil-to-add-x-ext (ly:stencil-extent stil-to-add X))
 (stil-to-add-y-ext (ly:stencil-extent stil-to-add Y))
 )
(if (< 0 (interval-length stil-to-add-x-ext))
(if (or (and (= (ly:pitch-notename p-1) 5)
 (eq? scale-def minor))
(and (= (ly:pitch-notename p-1) 0)
 (eq? scale-def major)))
(bracketify-stencil
  (ly:make-stencil
(ly:stencil-expr stil-to-add)
;; left bracket is to far away
;; trimmed a little
(cons
   (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
   (cdr stil-to-add-x-ext))
;; adjusting the top and bottom ending of the
bracket
(cons
   (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
   (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
  Y th (* 2.5 th) th)
(ly:stencil-combine-at-edge
  default-stil
  X
  RIGHT
  (bracketify-stencil
(ly:make-stencil
  (ly:stencil-expr stil-to-add)
  ;; left bracket is to far away
  ;; trimmed a little
  (cons
 (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
 (cdr stil-to-add-x-ext))
  ;; adjusting the top and bottom ending of the bracket
  (cons
 (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
 (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
Y th (* 2.5 th) th)
1))
  default-stil)))

  \key $p-1 $scale-def
#})

%%
% EXAMPLES
%%

\relative c {
  
  \clef bass 
\alternativeKey d dis \minor
c d e
} 

\relative c {
  
  \clef bass 
\alternativeKey g ges \major
c d e
} 

*Key signature are not these lines*




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Re: I want MIDI only for a specific tag

[Federico Bruni]

2015-03-08 17:10 GMT+01:00 and...@andis59.se :

> On 2015-03-08 17:06, Pierre Perol-Schneider wrote:
>
>> Hi Anders,
>>
>> simply delete midi in your score and create a new one just for the midi:
>>
>> \score {
>>  \new StaffGroup <<
>>  \new Staff
>>  \keepWithTag myStaff {\melody }
>>  \new TabStaff
>>\keepWithTag myTab { \melody }
>>>>
>>\layout { }
>> }
>>
>> \score {
>>  \new Staff
>>  \keepWithTag myStaff
>>  \melody
>>\midi { }
>> }
>>
>>
> I knew it was possible (like most things with LilyPond!)
>
> Thank you Pierre (Yeah it has to do with Pedal Steel notation)
>
>
Maybe this is a more elegant solution for your use case:
https://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00148.html
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Re: I want MIDI only for a specific tag

[and...@andis59.se]

On 2015-03-09 11:30, Federico Bruni wrote:

2015-03-08 17:10 GMT+01:00 and...@andis59.se 
mailto:and...@andis59.se>>:

Maybe this is a more elegant solution for your use case:
https://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00148.html




I often use this when developing guitar tabs so the MIDI output doesn't 
double up:


\new TabStaff = "Guitar tabs" \with {
  \remove "Staff_performer"
}


Yes, it's more elegant!

As always:  "There are more ways than one to skin a cat"


Thank you very much Federico!

// Anders
--
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: ANN: Frescobaldi 2.18

[Simon Albrecht]

Sorry, should have mentioned that this is on Ubuntu 14.10.

Am 09.03.2015 um 10:22 schrieb Simon Albrecht:

Hello,

for whatever reason I keep running into problems whenever I try to 
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 
and python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed 
them following the instructions, without any extra options. Then I 
deleted the ~/frescobaldi-2.0.15/ directory containing the old 
installation, but still Frescobaldi is complaining about not being 
able to find the correct version of python-ly. How can I go on?


TIA, Simon

Am 07.03.2015 01:18, schrieb Wilbert Berendsen:

Dear friends,

I am happy to announce the immediate availability of Frescobaldi 2.18.

Homepage: http://frescobaldi.org/
Download: https://github.com/wbsoft/frescobaldi/releases

Major installation changes:

* Python 3.2 and higher are supported and recommended. Of course you
   should also install PyQt4 and python-poppler-qt4 for Python 3.
   Python 2.7 is also supported, and will continue to be supported for
   all coming 2.x Frescobaldi releases.

* Frescobaldi now needs the python-ly package to be installed.
   Previously, this module was part of Frescobaldi.

   When you overwrite an older Frescobaldi installation, you should make
   sure that no old files remain in the file system. Otherwise,
   Frescobaldi can't run because it finds the old frescobaldi_app/ly
   module instead of the much newer one installed by Python-ly.

   So, installing python-ly[1] and doing a clean Frescobaldi install is
   necessary.  (The Windows Frescobaldi installer contains everything,
   including python-ly.)

   [1] https://pypi.python.org/pypi/python-ly

Most important new features:
* Midi import, using the LilyPond-provided midi2ly tool
* ABC import, using the LilyPond-provided abc2ly tool
* In the Editor Preferences, you can select which quotes will be used
   as single and double (primary and secondary) typographical quotes
   (issue #529)
* The music view now can display a PDF document with two pages next
   to each other, starting with a right or left page, and in single
   pages (issue #575)
* A new pitch tool, Mode shift, which can be used to change all or
   selected notes to a specified mode or scale.
* Commands to convert rests to spaces or vice versa, and to convert
   pitched rests (like c'4\rest) to normal rests, contributed by Peter
   Bjuhr.
* Command to open LilyPond data directory (useful if you want to
   study Lily's own init- and Scheme files).

Improvements:
* The Insert menu got renamed to Snippets, making more clear how it
   is used and can be changed. When copying text to a new snippet, the
   snippet is added to the menu by default, but the user can change that
   while editing.
* Ctrl+Break (LilyPond → Abort Engraving Job) also stops an
   autocompile job if one is running.
* The SVG View now displays a default gray background when no
   document is loaded, which is more helpful than a white background.
* When right-clicking in the editor, the editor does not scroll
   anymore to show more surrounding lines.
* Multi-line block comments are now also foldable (issue #587)
* The magnifying glass in the Music View does not clip to the page
   borders anymore, which was annoying when showing many pages in a
   small size.
* To save space in the toolbar, the almost never used Save As...
   button was removed. But when holding the Save button longer, three
   choices pop up: Save, Save As and Save All.
* Ctrl-Mousewheel zooming the LilyPond Log now works properly.

Bugfixes:
* The german ("deutsch") pitch names asas and heses are now handled
   correctly. Previously, when translating the "nederlands" beses to
   german, it was output as bes, instead of heses. Same for "norsk" and
   "suomi" (issue #415)
* If the preference "Open default viewer after successful compile" is
   enabled, the viewer to be opened is determined from the actual
   results, instead of the default output format. This fixes the PDF
   view opening instead of the SVG view, when the SVG format was chosen
   in the Engrave Custom dialog.
* fix AttributeError: 'unicode' object has no attribute 'insert' (issue
   #543)
* the transpose functions will not transpose the chord after
   \stringTuning anymore (issue #539).
* fix error when opening a "recent file" that has been deleted (issue
   #597)
* Quick Insert articulations etc. now also work with q (repeated)
   chords (issue #628, fixed in python-ly)
* Quick Insert: do not add articulation to the duration of a \tuplet
   command (issue #631, fixed in python-ly)

Frescobaldi team member Pavel Roskin has done much work to make Python
3 support a reality. Thanks!

Enjoy!
Wilbert Berendsen (main author and core developer) and the Frescobaldi
team:
- Pavel Roskin (the python3 man and much testing and checking)
- Peter Bjuhr (the MusicXML man)
- Urs Liska (the layout control man)
- Davide Lie

Re: Please help

[Simon Albrecht]

Hello anonymus,

everything is alright with your code, except for one thing: the lines 
beginning with (at least one) ";" must not be broken, since they are 
comments; they serve as explanations to any human reading the code, but 
the program ignores them. However, commenting out with ";" only works 
till the end of the line; if a line break is inserted, Lily will try to 
interpret the part after the break, which to her doesn’t make any sense.

I attached a corrected version.

Happy coding,
Simon

Am 09.03.2015 um 10:31 schrieb magohq:

*code does not work in the bass clef for example: *

*Key signature are not these lines*

\version "2.17.95"

alternativeKey =
#(define-music-function (parser location p-1 p-2 scale-def)
  (ly:pitch? ly:pitch? list?)
#{
   \override Staff.KeySignature #'stencil =
#(lambda (grob)
   (let* ((staff-space (ly:staff-symbol-staff-space grob))
  (line-thickness (ly:staff-symbol-line-thickness grob))
  (th line-thickness)
  (default-stil (ly:key-signature-interface::print grob))
  ;; To avoid programming error @code{(markup #:null)} is
returned if
  ;; the scale would not result in printed KeySignature.
  ;; TODO: add the other scales: ionian, locrian etc
  (stil-to-add
(grob-interpret-markup grob
  (if (or (and (= (ly:pitch-notename p-2) 5)
   (eq? scale-def minor))
  (and (= (ly:pitch-notename p-2) 0)
   (eq? scale-def major)))
  (markup #:null)
  #{
\markup
  \score {
{ \key $p-2 $scale-def }
\layout {
  \override Staff.TimeSignature #'stencil = ##f
  \override Staff.Clef #'stencil = ##f
  \override Staff.StaffSymbol #'line-count = #0
  indent = 0
}
}
  #})
  ))
  (stil-to-add-x-ext (ly:stencil-extent stil-to-add X))
  (stil-to-add-y-ext (ly:stencil-extent stil-to-add Y))
  )
 (if (< 0 (interval-length stil-to-add-x-ext))
 (if (or (and (= (ly:pitch-notename p-1) 5)
  (eq? scale-def minor))
 (and (= (ly:pitch-notename p-1) 0)
  (eq? scale-def major)))
 (bracketify-stencil
   (ly:make-stencil
 (ly:stencil-expr stil-to-add)
 ;; left bracket is to far away
 ;; trimmed a little
 (cons
(+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
(cdr stil-to-add-x-ext))
 ;; adjusting the top and bottom ending of the
bracket
 (cons
(+ (car stil-to-add-y-ext) (* 0.2 staff-space))
(- (cdr stil-to-add-y-ext) (* 0.5 staff-space
   Y th (* 2.5 th) th)
 (ly:stencil-combine-at-edge
   default-stil
   X
   RIGHT
   (bracketify-stencil
 (ly:make-stencil
   (ly:stencil-expr stil-to-add)
   ;; left bracket is to far away
   ;; trimmed a little
   (cons
  (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
  (cdr stil-to-add-x-ext))
   ;; adjusting the top and bottom ending of the bracket
   (cons
  (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
  (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
 Y th (* 2.5 th) th)
 1))
   default-stil)))

   \key $p-1 $scale-def
#})

%%
% EXAMPLES
%%

\relative c {
   
   \clef bass

 \alternativeKey d dis \minor
 c d e
}

\relative c {
   
   \clef bass

 \alternativeKey g ges \major
 c d e
}

*Key signature are not these lines*




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\version "2.17.95"

alternativeKey =
#(define-music-function (parser location p-1 p-2 scale-def)
 (ly:pitch? ly:pitch? list?)
#{
  \override Staff.KeySignature #'stencil =
   #(lambda (grob)
  (let* ((staff-space (ly:staff-symbol-staff-space grob))
 (line-thickness (ly:staff-symbol-line-thickness grob))
 (th line-thickness)
 (default-stil (ly:key-signature-interface

Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Peter Bjuhr]

On 2015-03-09 11:41, Simon Albrecht wrote:

Hello,

for whatever reason I keep running into problems whenever I try to 
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 
and python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed 
them following the instructions, without any extra options. Then I 
deleted the ~/frescobaldi-2.0.15/ directory containing the old 
installation, but still Frescobaldi is complaining about not being 
able to find the correct version of python-ly. How can I go on?


TIA, Simon 


Sorry, should have mentioned that this is on Ubuntu 14.10. 


Hi Simon!

It seems to me that ~/frescobaldi-2.0.15/ is the source of the old 
installation and not where the old installation is.


I also use Ubuntu 14.10, and when I run

|sudo python setup.py install|

Frescobaldi is installed in /usr/local/lib/python2.7/dist-packages.

Can you confirm that you have no old installations in either /usr/lib/ 
or /usr/local/lib/?


Best
Peter
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Re: getting the argument list of a procedure

[anders . vinjar]

> "D" == David Nalesnik:

D> I don't understand what is happening when I attempt to define the
D> macro in the LY file, though.

This is a bug coming from use'ing (ice-9 syncase) - which guile-1.8
depends on for access to syntax-rules & friends - in lilypond.

Despite the error the compilation of the rest of the file seems to gets
through though, doing its output, and setting up a score:

lilypond /tmp/LY/arglist2.ly
GNU LilyPond 2.19.17
Processing `/tmp/LY/arglist2.ly'
Parsing...
/tmp/LY/arglist2.ly:16:2: error: GUILE signaled an error for the expression 
beginning here
#
 (define-syntax defineS
Wrong type to apply: #>
table: ((foo (a b)))
 (foo 1 2) ==> 3
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `arglist2.ps'...
Converting to `./arglist2.pdf'...
fatal error: failed files: "/tmp/LY/arglist2.ly"

Compilation exited abnormally with code 1 at Mon Mar  9 12:38:25

-anders


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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Simon Albrecht]

Am 09.03.2015 um 12:05 schrieb Peter Bjuhr:



On 2015-03-09 11:41, Simon Albrecht wrote:

Hello,

for whatever reason I keep running into problems whenever I try to 
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 
and python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed 
them following the instructions, without any extra options. Then I 
deleted the ~/frescobaldi-2.0.15/ directory containing the old 
installation, but still Frescobaldi is complaining about not being 
able to find the correct version of python-ly. How can I go on?


TIA, Simon 


Sorry, should have mentioned that this is on Ubuntu 14.10. 


Hi Simon!

It seems to me that ~/frescobaldi-2.0.15/ is the source of the old 
installation and not where the old installation is.


I also use Ubuntu 14.10, and when I run

|sudo python setup.py install|

Frescobaldi is installed in /usr/local/lib/python2.7/dist-packages.

Can you confirm that you have no old installations in either /usr/lib/ 
or /usr/local/lib/?

No, I did still have them. Removing them solved the problem.

Thanks a lot,
Simon
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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Villum Sejersen]

Sorry, should have mentioned that this is on Ubuntu 14.10.


Hi Simon!

It seems to me that ~/frescobaldi-2.0.15/ is the source of the old
installation and not where the old installation is.

I also use Ubuntu 14.10, and when I run

|sudo python setup.py install|

Frescobaldi is installed in /usr/local/lib/python2.7/dist-packages.

Can you confirm that you have no old installations in either /usr/lib/
or /usr/local/lib/?

No, I did still have them. Removing them solved the problem.

Thanks a lot,
Simon

==

It is a small mystery then that the python-ly-VERSION package somehow
has made it into ubuntu. Because it is still not available at all as a
distributed package, even from from debian testing.

So I had to download from source and install manually. After that, no
problem. I prefer using a symbolic link from /user/local/bin to the
updated frescobaldi executable

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mobil   +45   30 34  03 44

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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Federico Bruni]

2015-03-09 13:56 GMT+01:00 Villum Sejersen :

>
> It is a small mystery then that the python-ly-VERSION package  somehow has
> made it into ubuntu. Because it is still not available at all as a
> distributed package, even from from debian testing.


you probably installed it from PyPI using easy_install or pip
and it should be in /usr/local (while python packages distributed by debian
are in /usr)
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Re: Fine piano pedals notation

[Kieren MacMillan]

Hi all,

I’ve got a couple of Scheme functions — can’t remember who first wrote them for 
me — which might help, or at least give you some hints on how to solve the 
exact puzzles you’re facing. The “pedalSim” can, of course, be easily be 
adapted to accept any text for the “sim.” marking.

Hope this helps!
Kieren.



sustainPedalHalfOn = {
  \override Staff.SustainPedal #'stencil =
#(lambda (grob) (grob-interpret-markup grob
  (markup #:raise 0.1 "½" #:hspace -1 #:musicglyph "pedal.Ped")))
  \override Staff.PianoPedalBracket #'shorten-pair = #'(0.0 . 2.5)
}

pedalSim =
\once \override PianoPedalBracket #'stencil =
  #(lambda (grob)
   (let* (;; have we been split?
 (orig (ly:grob-original grob))
 ;; if yes, get the split pieces (our siblings)
 (siblings (if (ly:grob? orig)
   (ly:spanner-broken-into orig)
   '(
   ;; Modify the unbroken grob-stencil or the first part of the broken
   ;; grob-stencil.
   (if (or (null? siblings)
   (and (>= (length siblings) 2)
(eq? (car siblings) grob)))
   (let* (;; Get the default-stencil and its x-dimension and x-length.
  (stil (ly:piano-pedal-bracket::print grob))
  (stil-x-extent (ly:stencil-extent stil X))
  (stil-x-length (interval-length stil-x-extent))
  ;; Create a stencil to be added to the default-stencil.
  ;; Gets its x-dimension and x-length.
  (sim-stil
 (grob-interpret-markup grob
(markup #:fontsize -1 #:hspace 1 #:italic "sim.")))
  (sim-stil-x-extent (ly:stencil-extent sim-stil X))
  (sim-stil-x-length (interval-length sim-stil-x-extent))
  (thickness (max (layout-line-thickness grob) 0.1))
  ;; The value to shorten the default-stencil from the right side.
  ;; 0.8 will shorten about 80%.
  ;; Hard-coded, could be turned into a music-function.
  (amount 0.8))
 
 ;; Print a warning if the length of the default-stencil would not
 ;; warrant a sufficient output.
 (if (> sim-stil-x-length stil-x-length)
 (ly:warning "PianoPedalBracket is too short"))

 ;; Shorten the default-stencil.
 (ly:grob-set-property!
grob
'shorten-pair
(cons 0 (* amount stil-x-length)))
  
 ;; Calculate the final stencil.
 (let* (;; Get the shortened (default-)stencil
;; and its y-dimension.
(shortened-stil (ly:piano-pedal-bracket::print grob))
(shortened-stil-y-ext (ly:stencil-extent shortened-stil Y))
;; Modify the sim-stil to gain a little gap to the left and
;; enlarge it downwards a little (otherwise the 
stencil-whiteout 
;; will not work sufficient.
(new-sim-stil
  (ly:make-stencil
(ly:stencil-expr sim-stil)
(interval-widen sim-stil-x-extent (* 2 thickness))
(cons (- (car shortened-stil-y-ext) thickness)
  (cdr shortened-stil-y-ext)
  
   (ly:stencil-add
   shortened-stil
   (ly:stencil-translate-axis
  (stencil-whiteout new-sim-stil)
  (* (- 1 amount) (- stil-x-length sim-stil-x-length))
  X
   ;; TODO:
   ;; Is there any need to return #f explicitly?
   ;; Deleting it seems to make no difference.
   ;#f
   )))



On Mar 8, 2015, at 10:40 PM, Andrew Bernard  wrote:

> Greetings,
> 
> I have the exact same issue with my contemporary scores (and no good solution 
> I am afraid), so I will be interested in any response.
> 
> Just as a matter of intellectual property, the score you refer to for 
> download is copyright Schott Japan 1982. I am not familiar with Japanese 
> copyright law, but I would venture to say that the copyright is still in 
> place at this time, so if you make a score you cannot distribute it. I am 
> sure it’s fine for your own use.
> 
> Andrew
> 
> 
> 
> On 9 March 2015 at 03:29:11, 良ϖ (p2b@gmail.com) wrote:
> 
>> 
>> I'm trying to engrave a free score of Takemistsu's Rain Tree Sketch. You can 
>> found a video with score here on Youtube or you can download a copyrighted 
>> copy on this page.
>> 
>> This piece makes innovative use of all three pedals of the piano. I've tried 
>> to play a bit with this snippet but I'm not convinced by what I've got. I 
>> especially don't know how to symbolize half pedal to the best of my 
>> knowledge. Moreover, I'd like to change « simile » for an arrow →.
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> lilypond-user@gnu.org
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Kieren MacMillan, comp

Re: Fine piano pedals notation

[良ϖ]

Wow, thank you very much to all of you for your replies!

I'm not on my own laptop right now so I'll try the Scheme functions when
back.

I've set up this small git repository
. Of course, just feel free to
contribute ;-) I'm very open to any suggestion about good practice to type
maintainable code or better way to deal with unmetered music and bar
numbers (this is not that simple).

On 9 March 2015 at 14:06, Kieren MacMillan 
wrote:

> Hi all,
>
> I’ve got a couple of Scheme functions — can’t remember who first wrote
> them for me — which might help, or at least give you some hints on how to
> solve the exact puzzles you’re facing. The “pedalSim” can, of course, be
> easily be adapted to accept any text for the “sim.” marking.
>
> Hope this helps!
> Kieren.
>
> 
>
> sustainPedalHalfOn = {
>   \override Staff.SustainPedal #'stencil =
> #(lambda (grob) (grob-interpret-markup grob
>   (markup #:raise 0.1 "½" #:hspace -1 #:musicglyph "pedal.Ped")))
>   \override Staff.PianoPedalBracket #'shorten-pair = #'(0.0 . 2.5)
> }
>
> pedalSim =
> \once \override PianoPedalBracket #'stencil =
>   #(lambda (grob)
>(let* (;; have we been split?
>  (orig (ly:grob-original grob))
>  ;; if yes, get the split pieces (our siblings)
>  (siblings (if (ly:grob? orig)
>(ly:spanner-broken-into orig)
>'(
>;; Modify the unbroken grob-stencil or the first part of the broken
>;; grob-stencil.
>(if (or (null? siblings)
>(and (>= (length siblings) 2)
> (eq? (car siblings) grob)))
>(let* (;; Get the default-stencil and its x-dimension and x-length.
>   (stil (ly:piano-pedal-bracket::print grob))
>   (stil-x-extent (ly:stencil-extent stil X))
>   (stil-x-length (interval-length stil-x-extent))
>   ;; Create a stencil to be added to the default-stencil.
>   ;; Gets its x-dimension and x-length.
>   (sim-stil
>  (grob-interpret-markup grob
> (markup #:fontsize -1 #:hspace 1 #:italic "sim.")))
>   (sim-stil-x-extent (ly:stencil-extent sim-stil X))
>   (sim-stil-x-length (interval-length sim-stil-x-extent))
>   (thickness (max (layout-line-thickness grob) 0.1))
>   ;; The value to shorten the default-stencil from the right
> side.
>   ;; 0.8 will shorten about 80%.
>   ;; Hard-coded, could be turned into a music-function.
>   (amount 0.8))
>
>  ;; Print a warning if the length of the default-stencil would not
>  ;; warrant a sufficient output.
>  (if (> sim-stil-x-length stil-x-length)
>  (ly:warning "PianoPedalBracket is too short"))
>
>  ;; Shorten the default-stencil.
>  (ly:grob-set-property!
> grob
> 'shorten-pair
> (cons 0 (* amount stil-x-length)))
>
>  ;; Calculate the final stencil.
>  (let* (;; Get the shortened (default-)stencil
> ;; and its y-dimension.
> (shortened-stil (ly:piano-pedal-bracket::print grob))
> (shortened-stil-y-ext (ly:stencil-extent shortened-stil Y))
> ;; Modify the sim-stil to gain a little gap to the left and
> ;; enlarge it downwards a little (otherwise the
> stencil-whiteout
> ;; will not work sufficient.
> (new-sim-stil
>   (ly:make-stencil
> (ly:stencil-expr sim-stil)
> (interval-widen sim-stil-x-extent (* 2 thickness))
> (cons (- (car shortened-stil-y-ext) thickness)
>   (cdr shortened-stil-y-ext)
>
>(ly:stencil-add
>shortened-stil
>(ly:stencil-translate-axis
>   (stencil-whiteout new-sim-stil)
>   (* (- 1 amount) (- stil-x-length sim-stil-x-length))
>   X
>;; TODO:
>;; Is there any need to return #f explicitly?
>;; Deleting it seems to make no difference.
>;#f
>)))
>
>
>
> On Mar 8, 2015, at 10:40 PM, Andrew Bernard 
> wrote:
>
> > Greetings,
> >
> > I have the exact same issue with my contemporary scores (and no good
> solution I am afraid), so I will be interested in any response.
> >
> > Just as a matter of intellectual property, the score you refer to for
> download is copyright Schott Japan 1982. I am not familiar with Japanese
> copyright law, but I would venture to say that the copyright is still in
> place at this time, so if you make a score you cannot distribute it. I am
> sure it’s fine for your own use.
> >
> > Andrew
> >
> >
> >
> > On 9 March 2015 at 03:29:11, 良ϖ (p2b@gmail.com) wrote:
> >
> >>
> >> I'm trying to engrave a free score of Takemistsu's Rain 

Ace editor - Lilypond support

[Erik Nilsson]

Hi, 

I'm considering creating a syntax highlighter for Lilypond code for the Ace 
javascript code editor (http://ace.c9.io/). I think it would be useful for 
tools like for instance weblily (http://www.weblily.net/).

Is there a clear definition of the lilypond language that one could use as the 
basis for such work? Does anybody know of other syntax highlighters out there 
(Frescobaldi, Emacs, Sublime or whatever) that would be a good starting point 
(being fairly complete, readable code). 

Regards,

Erik


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Re: Please help

[magohq]

Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to move down one line.



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Re: Please help

[magohq]

Hi Simon

Nothing has changed Key signature alternatives are still not on these
lines. The fis in bass clef is on the 4th line,not on the fifth as the key
treble. All the characters have to move down one line.

Magohq

2015-03-09 11:52 GMT+01:00 Simon Albrecht-2 [via Lilypond] <
ml-node+s1069038n172859...@n5.nabble.com>:

> Hello anonymus,
>
> everything is alright with your code, except for one thing: the lines
> beginning with (at least one) ";" must not be broken, since they are
> comments; they serve as explanations to any human reading the code, but
> the program ignores them. However, commenting out with ";" only works
> till the end of the line; if a line break is inserted, Lily will try to
> interpret the part after the break, which to her doesn’t make any sense.
> I attached a corrected version.
>
> Happy coding,
> Simon
>
> Am 09.03.2015 um 10:31 schrieb magohq:
>
> > *code does not work in the bass clef for example: *
> >
> > *Key signature are not these lines*
> >
> > \version "2.17.95"
> >
> > alternativeKey =
> > #(define-music-function (parser location p-1 p-2 scale-def)
> >   (ly:pitch? ly:pitch? list?)
> > #{
> >\override Staff.KeySignature #'stencil =
> > #(lambda (grob)
> >(let* ((staff-space (ly:staff-symbol-staff-space grob))
> >   (line-thickness (ly:staff-symbol-line-thickness grob))
> >   (th line-thickness)
> >   (default-stil (ly:key-signature-interface::print grob))
> >   ;; To avoid programming error @code{(markup #:null)} is
> > returned if
> >   ;; the scale would not result in printed KeySignature.
> >   ;; TODO: add the other scales: ionian, locrian etc
> >   (stil-to-add
> > (grob-interpret-markup grob
> >   (if (or (and (= (ly:pitch-notename p-2) 5)
> >(eq? scale-def minor))
> >   (and (= (ly:pitch-notename p-2) 0)
> >(eq? scale-def major)))
> >   (markup #:null)
> >   #{
> > \markup
> >   \score {
> > { \key $p-2 $scale-def }
> > \layout {
> >   \override Staff.TimeSignature #'stencil = ##f
> >   \override Staff.Clef #'stencil = ##f
> >   \override Staff.StaffSymbol #'line-count = #0
> >   indent = 0
> > }
> > }
> >   #})
> >   ))
> >   (stil-to-add-x-ext (ly:stencil-extent stil-to-add X))
> >   (stil-to-add-y-ext (ly:stencil-extent stil-to-add Y))
> >   )
> >  (if (< 0 (interval-length stil-to-add-x-ext))
> >  (if (or (and (= (ly:pitch-notename p-1) 5)
> >   (eq? scale-def minor))
> >  (and (= (ly:pitch-notename p-1) 0)
> >   (eq? scale-def major)))
> >  (bracketify-stencil
> >(ly:make-stencil
> >  (ly:stencil-expr stil-to-add)
> >  ;; left bracket is to far away
> >  ;; trimmed a little
> >  (cons
> > (+ (car stil-to-add-x-ext) (* 0.7
> staff-space) )
> > (cdr stil-to-add-x-ext))
> >  ;; adjusting the top and bottom ending of the
> > bracket
> >  (cons
> > (+ (car stil-to-add-y-ext) (* 0.2
> staff-space))
> > (- (cdr stil-to-add-y-ext) (* 0.5
> staff-space
> >Y th (* 2.5 th) th)
> >  (ly:stencil-combine-at-edge
> >default-stil
> >X
> >RIGHT
> >(bracketify-stencil
> >  (ly:make-stencil
> >(ly:stencil-expr stil-to-add)
> >;; left bracket is to far away
> >;; trimmed a little
> >(cons
> >   (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
> >   (cdr stil-to-add-x-ext))
> >;; adjusting the top and bottom ending of the bracket
> >(cons
> >   (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
> >   (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
> >  Y th (* 2.5 th) th)
> >  1))
> >default-stil)))
> >
> >\key $p-1 $scale-def
> > #})
> >
> > %%
> > % EXAMPLES
> > %%
> >
> > \relative c {
> >
> >\clef bass
> >  \alternativeKey d dis \minor
> >  c d e
> > }
> >
> > \relative c {
> >
> >\clef bass
> >  \alternativeKey g ges \major
> >  c d e
> > }
> >
> > *Key signature are not thes

Re: Please help

[Simon Albrecht]

PS. Did you send the message three times or did it only arrive three times?

Am 09.03.2015 um 14:40 schrieb magohq:

Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to move down one line.



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Re: Please help

[Simon Albrecht]

Am 09.03.2015 um 14:40 schrieb magohq:

Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to move down one line.
OK, now I see your problem. You should always post examples which 
compile without errors, else you make the job of those who want to help 
much more difficult.
Now, I modified the \alternateKey music function so it takes an optional 
first argument specifying the clef: if the argument is omitted (as the 
function was used before), a treble clef will be used, else the clef 
from the argument is applied, so now it shows correctly. I think one 
might do this much more elegantly by reading the clef properties from 
the Staff context for example, but that’s currently over the top of my head.


HTH [Hope that helps], Simon
\version "2.18.2"

alternativeKey =
#(define-music-function (parser location cl p-1 p-2 scale-def)
   ((string-or-symbol? "treble") ly:pitch? ly:pitch? list?)
   #{
 \override Staff.KeySignature.stencil =
 #(lambda (grob)
(let* ((staff-space (ly:staff-symbol-staff-space grob))
   (line-thickness (ly:staff-symbol-line-thickness grob))
   (th line-thickness)
   (default-stil (ly:key-signature-interface::print grob))
   ;; To avoid programming error @code{(markup #:null)} is returned if
   ;; the scale would not result in printed KeySignature.
   ;; TODO: add the other scales: ionian, locrian etc
   (stil-to-add
(grob-interpret-markup grob
  (if (or (and (= (ly:pitch-notename p-2) 5)
   (eq? scale-def minor))
  (and (= (ly:pitch-notename p-2) 0)
   (eq? scale-def major)))
  (markup #:null)
  #{
\markup
\score {
  { \clef $cl \key $p-2 $scale-def }
  \layout {
\override Staff.TimeSignature.stencil = ##f
\override Staff.Clef.stencil = ##f
\override Staff.StaffSymbol.line-count = #0
indent = 0
  }
}
  #})
  ))
   (stil-to-add-x-ext (ly:stencil-extent stil-to-add X))
   (stil-to-add-y-ext (ly:stencil-extent stil-to-add Y))
   )
  (if (< 0 (interval-length stil-to-add-x-ext))
  (if (or (and (= (ly:pitch-notename p-1) 5)
   (eq? scale-def minor))
  (and (= (ly:pitch-notename p-1) 0)
   (eq? scale-def major)))
  (bracketify-stencil
   (ly:make-stencil
(ly:stencil-expr stil-to-add)
;; left bracket is to far away
;; trimmed a little
(cons
 (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
 (cdr stil-to-add-x-ext))
;; adjusting the top and bottom ending of the bracket
(cons
 (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
 (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
   Y th (* 2.5 th) th)
  (ly:stencil-combine-at-edge
   default-stil
   X
   RIGHT
   (bracketify-stencil
(ly:make-stencil
 (ly:stencil-expr stil-to-add)
 ;; left bracket is to far away
 ;; trimmed a little
 (cons
  (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
  (cdr stil-to-add-x-ext))
 ;; adjusting the top and bottom ending of the bracket
 (cons
  (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
  (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
Y th (* 2.5 th) th)
   1))
  default-stil)))

 \key $p-1 $scale-def
   #})

%%
% EXAMPLES
%%

\relative c' {
  \alternativeKey d dis \minor
  c d e
}

\relative c' {
  \alternativeKey g ges \major
  c d e
}

\relative c {
  \clef bass
  \alternativeKey bass d dis \minor
  c d e
}

\relative c {
  \clef bass
  \alternativeKey bass g ges \major
  c d e
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Re: Please help

[Magohq]

Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to move down one line.



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Re: Please help

[Magohq]

Thank you very very very much.
That's what I has just mean. I struggled with this for over a year and
enough to write in the forum. Once again, big thanks.

Magohq


2015-03-09 15:23 GMT+01:00 Simon Albrecht-2 [via Lilypond] <
ml-node+s1069038n172874...@n5.nabble.com>:

> Am 09.03.2015 um 14:40 schrieb magohq:
> > Nothing has changed Key signature alternatives are still not on these
> lines.
> > The fis in bass clef is on the 4th line,not on the fifth as the key
> treble.
> > All the characters have to move down one line.
> OK, now I see your problem. You should always post examples which
> compile without errors, else you make the job of those who want to help
> much more difficult.
> Now, I modified the \alternateKey music function so it takes an optional
> first argument specifying the clef: if the argument is omitted (as the
> function was used before), a treble clef will be used, else the clef
> from the argument is applied, so now it shows correctly. I think one
> might do this much more elegantly by reading the clef properties from
> the Staff context for example, but that’s currently over the top of my
> head.
>
> HTH [Hope that helps], Simon
>
> ___
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>
> *alt-key-clef-support.ly * (3K) Download
> Attachment
> 
>
>
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>
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>  To unsubscribe from double key signature, click here
> 
> .
> NAML
> 
>




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Frescobaldi 2.18 install problems on KXStudio

[Colin Campbell]

After manually running updatedb and locate, then deleting any instance 
of frescobaldi and python-ly in /usr/* in order to remove prior version 
conflicts, I ran
sudo python setup.py install from the unzipped source directory, which 
finished as below (emphasis added):

**
  Installing *frescobaldi* script to */usr/local/bin*

  Installed 
/usr/local/lib/python2.7/dist-packages/frescobaldi-2.18-py2.7.egg

  Processing dependencies for frescobaldi==2.18
  Searching for python-ly
  Reading https://pypi.python.org/simple/python-ly/
  Best match: python-ly 0.9.1
*Downloading 
https://pypi.python.org/packages/source/p/python-ly/python-ly-0.9.1*.tar.gz#md5=a412a8037db6895b94ae9489c8b6cf12

  Processing python-ly-0.9.1.tar.gz
  Writing /tmp/easy_install-yVEFJ6/python-ly-0.9.1/setup.cfg
  Running python-ly-0.9.1/setup.py -q bdist_egg --dist-dir 
/tmp/easy_install-yVEFJ6/python-ly-0.9.1/egg-dist-tmp-Nx2DFl

  zip_safe flag not set; analyzing archive contents...
  ly.data.makeschemedata: module references __file__
  Adding python-ly 0.9.1 to easy-install.pth file
*Installing ly script to /usr/local/bin*

*Installed* 
/usr/local/lib/python2.7/dist-packages/*python_ly-0.9.1-py2.7.egg*

Searching for python-poppler-qt4==0.16.3
Best match: python-poppler-qt4 0.16.3
python-poppler-qt4 0.16.3 is already the active version in easy-install.pth

Using /usr/lib/python2.7/dist-packages
Finished processing dependencies for frescobaldi==2.18
***
The log output shows python-ly being fetched from pypi and apparently 
installed in the same directories as the frescobaldi code.

Running Frescobaldi gives me an error box with the following text:

**

We are sorry, but Frescobaldi can't run properly.


The python-ly package is not available or too old.

At least version 0.9 is required to run Frescobaldi.


If you did install python-ly correctly, please remove the old

ly package from the frescobaldi_app directory, or completely

remove and then reinstall Frescobaldi.


**

Having been an early adopter of Frescobaldi, even when it was still 
lilyKDE, I'm a bit taken aback at the challenges of this update. I 
realise it is quite likely I've missed an important instruction and I'm 
more than happy to be corrected.


Cheers,
Colin

--
I've learned that you shouldn't go through life with a catcher's mitt on both 
hands.
You need to be able to throw something back.
-Maya Angelou, poet (1928- )

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Re: Slurred staccato in a tremolo

[David Nalesnik]

On Sun, Mar 8, 2015 at 9:24 PM, David Nalesnik 
wrote:
>
>
> I'll have a look at fixing it.
>

Patch here:  https://code.google.com/p/lilypond/issues/detail?id=4319

--David
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Re: Ace editor - Lilypond support

[Scott Miller]

I am not any help for the question, but wanted to thank you for looking
into this.

ownCloud also uses the Ace editor for in-browser text editing and it would
be awesome to edit LilyPond right from the browser!
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Re: Ace editor - Lilypond support

[Michael Hendry]

> On 9 Mar 2015, at 13:34, Erik Nilsson  wrote:
> 
> 
> Hi, 
> 
> I'm considering creating a syntax highlighter for Lilypond code for the Ace 
> javascript code editor (http://ace.c9.io/). I think it would be useful for 
> tools like for instance weblily (http://www.weblily.net/).
> 
> Is there a clear definition of the lilypond language that one could use as 
> the 
> basis for such work? Does anybody know of other syntax highlighters out there 
> (Frescobaldi, Emacs, Sublime or whatever) that would be a good starting point 
> (being fairly complete, readable code). 
> 
> Regards,
> 
> Erik

I’m not sure if this is what you’re looking for, Erik, but my installation of 
lilypond (on iMac) includes the following files:

/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/compiler/lilypond.vim
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/ftdetect/lilypond.vim
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/ftplugin/lilypond.vim
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/indent/lilypond.vim
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/syntax/lilypond.vim

…which allow MacVim to provide syntax highlighting for lilypond.

I’m not sure now whether these came with lilypond, or whether I installed them 
separately.

Michael

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Re: Ace editor - Lilypond support

[Johan Vromans]

On Mon, 9 Mar 2015 12:15:44 -0400
Scott Miller  wrote:

> ownCloud also uses the Ace editor for in-browser text editing and it would
> be awesome to edit LilyPond right from the browser!

Personally I do not see any advantages. Am I overlooking something?

-- Johan

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Re: Ace editor - Lilypond support

[Urs Liska]

Am 09.03.2015 um 14:34 schrieb Erik Nilsson:


Hi,

I'm considering creating a syntax highlighter for Lilypond code for the Ace
javascript code editor (http://ace.c9.io/). I think it would be useful for
tools like for instance weblily (http://www.weblily.net/).

Is there a clear definition of the lilypond language that one could use as the
basis for such work? Does anybody know of other syntax highlighters out there
(Frescobaldi, Emacs, Sublime or whatever) that would be a good starting point
(being fairly complete, readable code).

Regards,

Erik



Frescobaldi's code base is generally very readable Python code.
You may start browsing here:
https://github.com/wbsoft/frescobaldi/blob/master/frescobaldi_app/highlighter.py
and here:
https://github.com/wbsoft/python-ly/blob/master/ly/colorize.py

Good luck
Urs



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--
Urs Liska
www.openlilylib.org

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Help please with alternate jazz chord naming system

[Peter Teeson]

I do not know how to set things up to use the alternate jazz chord naming system.Notation p 392 "An alternate jazz chord system has been developed using these modifications. "The snippet shows what I am doing now.But the 2nd and 4th chord names are using the Ignatzek name. I want the alternative names per the chart in Notation on page 607How do I do that?

chordsnippet.pdf
Description: Adobe PDF document


chordsnippet.ly
Description: Binary data
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Re: Help please with alternate jazz chord naming system

[Michael Hendry]

> On 9 Mar 2015, at 17:31, Peter Teeson  wrote:
> 
> I do not know how to set things up to use the alternate jazz chord naming 
> system.
> Notation p 392 "An alternate jazz chord system has been developed using these 
> modifications. "
> 
> The snippet shows what I am doing now.
> But the 2nd and 4th chord names are using the Ignatzek name. I want the 
> alternative names per the chart in Notation on page 607
> How do I do that?
> 
> 
> 
> 
> tia for your help…..
> 
> respect…
> 
> Peter


I have a file called…

/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/ly/AccordsJazzDefs.ly
 

…in my Mac installation of LilyPond, and I \include it near the beginning of 
the file to get the alternative jazz chord names.

I can’t remember where I got it now, but no doubt Google would help.

Michael



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Getting ragged-last-bottom et. al to work?

[steve]

Howdy!

 Seems no matter what I do I end up with a ragged last-bottom

  I have tried putting

ragged-right = ##f
ragged-bottom = ##f
ragged-last-bottom = ##f
ragged-last = ##f

   into both \paper {} and \layout {}

 and it does nothing..

  I have some files at

http://www.gooeytar.com/projects/FourMoments/Python/fm.ly

http://www.gooeytar.com/projects/FourMoments/Python/fm.pdf

  never had this problem before?  Am I missing something?
 I can't verify it with a tiny example.

 -steve





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Re: Getting ragged-last-bottom et. al to work?

[Phil Holmes]

- Original Message - 
From: 

To: "lilypond-user" 
Sent: Monday, March 09, 2015 5:42 PM
Subject: Getting ragged-last-bottom et. al to work?




Howdy!

Seems no matter what I do I end up with a ragged last-bottom

 I have tried putting

   ragged-right = ##f
   ragged-bottom = ##f
   ragged-last-bottom = ##f
   ragged-last = ##f

  into both \paper {} and \layout {}

and it does nothing..



From the NR:

"ragged-bottom:

If this is set to true, systems will be set at their natural spacing, 
neither compressed nor stretched vertically to fit the page."


It seems apparent that setting ragged-* to _true_ will cause a ragged 
layout, as you want.



--
Phil Holmes 



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Re: Help please with alternate jazz chord naming system

[Tim McNamara]

There is also the pop-chords.ly file that can be used for chord names and I am 
working on modifying the same file to follow the Roemer chord name conventions 
which I will make available when done.  It appears that the OP would like Real 
Book style chord names; the pop-chords.ly file is easily modified.  It may be 
in the Lilypond snippet repository.  If not I can send a copy to the OP.




> On Mar 9, 2015, at 1:07 PM, Michael Hendry  wrote:
> 
> 
>> On 9 Mar 2015, at 17:31, Peter Teeson > > wrote:
>> 
>> I do not know how to set things up to use the alternate jazz chord naming 
>> system.
>> Notation p 392 "An alternate jazz chord system has been developed using 
>> these modifications. "
>> 
>> The snippet shows what I am doing now.
>> But the 2nd and 4th chord names are using the Ignatzek name. I want the 
>> alternative names per the chart in Notation on page 607
>> How do I do that?
>> 
>> 
>> http://chordsnippet.ly/>>
>> 
>> tia for your help…..
>> 
>> respect…
>> 
>> Peter
> 
> 
> I have a file called…
> 
> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/ly/AccordsJazzDefs.ly
>  
> 
> …in my Mac installation of LilyPond, and I \include it near the beginning of 
> the file to get the alternative jazz chord names.
> 
> I can’t remember where I got it now, but no doubt Google would help.
> 
> Michael
> 
> 
> 
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

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Re: How to set alternative chord names?

[Flaming Hakama by Elaine]

> From: Peter Teeson 
> Subject: How to set alternative chord names?
>
> Hi all:
> For my lead sheet I have started adding chords and printing the chord
> names.
> But I want the alternative names as per the Notation Manual Page 392
>
> How do I set that property? Snippets from my .ly file
>

I'm not sure where the chord exceptions file is that the docs refer to.

However, a popular one can be found at:
http://lists.gnu.org/archive/html/lilypond-user/2011-11/msg00285.html

You are welcome to use mine, available at:
http://flaminghakama.com/flaming-lilypond-chords


In general, once you have the file, it should contain a definition called
something like myChordExceptions.  You then make use of it as follows:

\version "2.18.0"

%  Here is an example of chord exceptions.
%  This is not complete, just intended to override one type of chord.
%  Look at the chord definitions file you end up using for the name it uses
for this definition.
myChordExceptions = {
  % Half-diminished
  1-\markup { m7b5 }
}

%  Once you have a version of "myChordExceptions", or whatever it is
called, add it to the typical ones with this line:
chExceptions = #(append (sequential-music-to-chord-exceptions
myChordExceptions #t) ignatzekExceptions)

%  To use the new chord styles, make sure you specify its use with \set
chordNameExceptions
myChordSequence = \chordmode {
  \set chordChanges = ##t
  \set chordNameExceptions = #chExceptions
  b1:m7.5-
}

myMelody = \relative c'' {
  r4 f8 d b a4.
}

\score {
  \new StaffGroup <<
\new ChordNames \myChordSequence
\new Staff {
  \myMelody
}
  >>
}


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: Getting ragged-last-bottom et. al to work?

[steve]

> - Original Message -
> From: 
> To: "lilypond-user" 
> Sent: Monday, March 09, 2015 5:42 PM
> Subject: Getting ragged-last-bottom et. al to work?
>
>
>>
>> Howdy!
>>
>> Seems no matter what I do I end up with a ragged last-bottom
>>
>>  I have tried putting
>>
>>ragged-right = ##f
>>ragged-bottom = ##f
>>ragged-last-bottom = ##f
>>ragged-last = ##f
>>
>>   into both \paper {} and \layout {}
>>
>> and it does nothing..
>
> From the NR:
> "ragged-bottom:
>
> If this is set to true, systems will be set at their natural spacing,
> neither compressed nor stretched vertically to fit the page."
>
> It seems apparent that setting ragged-* to _true_ will cause a ragged
> layout, as you want.

 Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..

  -steve

>
>
> --
> Phil Holmes
>
>



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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

> From: Michael Hendry 
> To: Davide Liessi 
> Cc: Lilypond-User Mailing List 
> Subject: Re: Subject: String Concatenation, and Use of Unicode characters
[sic]
>
>
> > On 7 Mar 2015, at 11:22, Davide Liessi  wrote:
> >
> > Il 03/03/15 07.56, Michael Hendry ha scritto:
> >>> Forgive me for suggesting, but I suggest it improves mental health to
> >>> think of transpose in the form:
> >>>
> >>>\transpose "to" "from" \musicExpression
> >
> > This is what I do, too: I usually think of transpose as `\transpose
"to" "from"` when tranposing instrumental parts from concert pitch to
transposed pitch, and as `\transpose "from" "to"` in all other cases.

Moments after writing this, I realized how ambiguous it "to" and "from"
are.
A more coherent way of thinking about using \transpose for transposing
instruments might be

\transpose "sounding" "written" \musicExpression

The gotcha here is to keep in mind that \transpose does not use relative
pitch.  Meaning, if you are used to using relative notiation, you might
expect the following to produce the same transposition:

\transpose c d \musicExpression
\transpose bes c \musicExpression

But they don't--the first goes up a whole step, the second one goes up a
minor seventh.  Personally, I find that the most confusing thing about
\transpose.

Maybe that's because I haven't graduated to any other kind of music entry
besides \relative?



> >> I used to think of the transposition in this way until I found a need
to
> >> transpose the whole piece to a different key (to accommodate a singer?s
> >> range, for example), and I found the two ways of looking at
> >> transposition tied my brain in knots.
> >
> > Indeed looking at the same command in two ways might be a bit
confusing, but I got used to it rather easily.

A corresponding way to think about transposing a piece would be

 \transpose "current key" "new key" \musicExpression

(With the same gotcha about not using relative pitch)


> >> Ideally, I?d like to define the whole-piece transposition at the top of
> >> the file, rather than editing the per-instrument transposition at the
> >> point of book production.
> >
> > You certainly do not need to change the individual transpositions in
order to transpose an entire piece: nothing stops you from transposing
music that has already been transposed, instead of editing each
`\transpose` command.

+1


> Here is the section of the template where various standard transpositions
are defined?
>
> % Transpose the whole piece
>
> PieceTranspose =
> #(define-music-function (parser location m)
>(ly:music?)
>#{ \transpose c c $m #})

I'm not sure how this helps.  As written, this does nothing.  And if you
need to modify your function for each file (to enter the correct
transposition), how is it better than just using \transpose directly?  That
is what you end up having to do anyway--understand how \transpose works in
order to make the modification.

I could see it being helpful if it were able to take more expected input
(like "up fourth", "down minor 3rd" or some other unambiguous input, and
then translate that to \transpose notation.

Generally, I agree that it is useful to have a function if you are going to
do the same thing multiple times.  (However, in this case I don't see the
purpose--in conjunction with my other comments, below, since I don't think
you should use this function more than twice per file.)




> % Adjust for various transposing instruments
>
> GuitarTranspose =
> #(define-music-function (parser location m)
>(ly:music?)
>#{ \transpose e e' $m #})
>
> AltoTranspose =
> #(define-music-function (parser location m)
>(ly:music?)
>#{ \transpose ees c'  $m #})
>
> TrumpetTranspose =
> #(define-music-function (parser location m)
>(ly:music?)
>#{ \transpose bes c' $m #})

Seems very helpful!

BTW, I also tend to prepare lead sheets in F and A.  Of course, you may not
need this.  But if you are preparing a template, it might be helpful to
include other common transpositions.

But below, instead of using \PiceTranspose everywhere (which kind of
defeats the purpose of doing something globally) I would suggest
transposing \TheChords and \TheHead and then using \TransposedChords and
\TransposedHead in the template:


TransposedChords = \PieceTranspose \TheChords
TransposedHead = \PieceTranspose \TheHead

#(define output-suffix "Concert")
\book {
  \score {
<<
  \TransposedChords
  \TransposedHead
>>
\header {
  piece = \markup { \fontsize #-1 "Concert" }
}
  }
}

% Guitar version - transposed up an octave

#(define output-suffix "guitar")
\book {
  \score {
<<
  \GuitarTranspose { \TransposedChords }
  \GuitarTranspose { \TransposedHead }
>>
\header {
  piece = \markup { \fontsize #-1 "Guitar" }
}
  }
}

% Trumpet version - transposed  up a tone

#(define output-suffix "trumpet-Bb")
\book {
  \score {
<<
  \TrumpetTranspose { \TransposedChords }
  \TrumpetTran

Re: Getting ragged-last-bottom et. al to work?

[Jim Long]

On Mon, Mar 09, 2015 at 03:01:46PM -0400, st...@linuxsuite.org wrote:
>
>  Umm,,, no I don't want a ragged layout. I want the last line on
> the last page to fill the line..

That's ragged-last = ##f (2.18.2 NR 4.1.5).  Even better, ##f is
the default value, so you should be fine just searching for
ragged-last and commenting out any occurrence(s) you find.  Make
sure also that your tiny example doesn't use any include files
that mess with ragged-last.




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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

> On 9 Mar 2015, at 19:48, Flaming Hakama by Elaine  
> wrote:
> 
> > From: Michael Hendry  > >
> > To: Davide Liessi mailto:davide.lie...@gmail.com>>
> > Cc: Lilypond-User Mailing List  > >
> > Subject: Re: Subject: String Concatenation, and Use of Unicode characters 
> > [sic]
> > 
> > 
> > > On 7 Mar 2015, at 11:22, Davide Liessi  > > > wrote:
> > >
> > > Il 03/03/15 07.56, Michael Hendry ha scritto:
> > >>> Forgive me for suggesting, but I suggest it improves mental health to
> > >>> think of transpose in the form:
> > >>>
> > >>>\transpose "to" "from" \musicExpression
> > >
> > > This is what I do, too: I usually think of transpose as `\transpose "to" 
> > > "from"` when tranposing instrumental parts from concert pitch to 
> > > transposed pitch, and as `\transpose "from" "to"` in all other cases.
>  
> Moments after writing this, I realized how ambiguous it "to" and "from" are. 
> A more coherent way of thinking about using \transpose for transposing 
> instruments might be 
>  
> \transpose "sounding" "written" \musicExpression
>  
> The gotcha here is to keep in mind that \transpose does not use relative 
> pitch.  Meaning, if you are used to using relative notiation, you might 
> expect the following to produce the same transposition:
>  
> \transpose c d \musicExpression

This one transposes up from c to d...

> \transpose bes c \musicExpression

…but because the scale goes up as c d e f g a b c’, this one transposes from 
bes (just below c’) down to c - a minor seventh DOWN.

>  
> But they don't--the first goes up a whole step, the second one goes up a 
> minor seventh.  Personally, I find that the most confusing thing about 
> \transpose.
>  
> Maybe that's because I haven't graduated to any other kind of music entry 
> besides \relative?
> 
> 
>  
> > >> I used to think of the transposition in this way until I found a need to
> > >> transpose the whole piece to a different key (to accommodate a singer?s
> > >> range, for example), and I found the two ways of looking at
> > >> transposition tied my brain in knots.
> > >
> > > Indeed looking at the same command in two ways might be a bit confusing, 
> > > but I got used to it rather easily.
>  
> A corresponding way to think about transposing a piece would be 
> 
>  \transpose "current key" "new key" \musicExpression
>  
> (With the same gotcha about not using relative pitch)

Relative pitch (in the lilypond \relative sense) isn’t involved here, only the 
interval between “current key” and “new key” (which is an upward movement in 
the case of c to d, but downward in the case of bes to c).

> 
> 
> > >> Ideally, I?d like to define the whole-piece transposition at the top of
> > >> the file, rather than editing the per-instrument transposition at the
> > >> point of book production.
> > >
> > > You certainly do not need to change the individual transpositions in 
> > > order to transpose an entire piece: nothing stops you from transposing 
> > > music that has already been transposed, instead of editing each 
> > > `\transpose` command.

In a simple version, I would write \TheHead and \TheChords in the target key, 
and transpose them at the \book stage for the various instruments. This has to 
be done in eight different places, and is prone to error.

This is why I defined functions for the individual instruments that need never 
be changed, and did the concert key transposition using \PieceTranspose - only 
one character to change!

>  
> +1
> 
> 
> > Here is the section of the template where various standard transpositions 
> > are defined?
> > 
> > % Transpose the whole piece
> > 
> > PieceTranspose =
> > #(define-music-function (parser location m)
> >(ly:music?)
> >#{ \transpose c c $m #})
> 
> I'm not sure how this helps.  As written, this does nothing.  And if you need 
> to modify your function for each file (to enter the correct transposition), 
> how is it better than just using \transpose directly?  That is what you end 
> up having to do anyway--understand how \transpose works in order to make the 
> modification.

Indeed, it does do nothing as it stands, but it’s there so that all I have to 
do when I want to transpose the whole piece up a fifth is to change the “c c” 
part to “c g”. 

> 
> I could see it being helpful if it were able to take more expected input 
> (like "up fourth", "down minor 3rd" or some other unambiguous input, and then 
> translate that to \transpose notation.
> 
> Generally, I agree that it is useful to have a function if you are going to 
> do the same thing multiple times.  (However, in this case I don't see the 
> purpose--in conjunction with my other comments, below, since I don't think 
> you should use this function more than twice per file.)

I do use the functions several times - once for each instrument.

> 
> 
> 
>  
> > % Adjust for various transposing instruments
> > 
> > Guit

Trouble with stem length while using cross piano staff chord engraver

[良ϖ]

​Hi,

I've gone a bit farther in Rain Tree Sketch as said in a previous thread
but I've stumbled upon a Lilypond issue I'm unable to deal with. When one
types polyphonic music, one uses voices and Lilypond is clever enough to
avoid collision with objects. When one wants to depict a chord made with
two hands, one can use cross-staff stems with the corresponding engraver,
as documented in this snippet

and the corresponding workaround

.

The context is bar 27 of Rain Tree Sketch
.
It's pretty messy so I cleansed it and wrote minimal examples for this
issue. You can find the picture of what is to be get as well as these
examples here

.

Actually that problem can be reduced: is there any way to get these two
items in the same time?

   - something that looks like cross-staff chord;
   - messy voices interleaving within two notes happen on the same beat.

I feel ill-at-ease because I don't see where I could have made a mistake.
Would this be a bug? Where could I feel a bug report if so?

In addition to that, who shall I send a mail to in order to get these two
snippets because merged into a single one? I think it may be more useful as
they are closely related. Anyway, this large collection of snippets rocks
:-)

胡雨軒 Hu YuXuan
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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

> > BTW, I also tend to prepare lead sheets in F and A.  Of course, you may
> not need this.  But if you are preparing a template, it might be helpful to
> include other common transpositions.
>
> OK. The choice there is either to compile the file three times, adjusting
> \PieceTranspose in the sequence c c then c f then c a, or to make two more
> copies of the book-generating section, with  (e.g.) \PieceTransposeFourth
> and \PieceTransposeSixth in between.
>
> This would make it all a bit unwieldy, and as I want to be able to share
> this with novice LilyPond users, I don?t want the make the file too long or
> too clever!
>

Sorry if I was not clear.  I wasn't suggesting that you transpose every
piece to the keys of F and A, but rather to be able to produce lead sheets
in those common keys as well:

HornTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose f, c  $m #})

AClarinetTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose a, c $m #})


Granted, A clarinet isn't too common for Jazz, but it can't hurt.  And as a
clarinettist, I couldn't avoid the suggestion!



> > But below, instead of using \PieceTranspose everywhere (which kind of
> defeats the purpose of doing something globally) I would suggest
> transposing \TheChords and \TheHead and then using \TransposedChords and
> \TransposedHead in the template:
>
> This comes to the same thing, but uses two extra variables.
>
> But I can see the advantage in doing this in terms of clarity if it comes
> immediately after the definition of the PieceTranspose function.
>

Besides that, I think that variables help if they clarify things.  In this
case, it provides an explicit name for the result of "\PieceTranspose {
\TheHead } "

This introduce twos additional variables, but results in six fewer function
calls.

Also, if I understand your intentions here, users of this template will
never have to modify the score blocks, or these variables.  So, I don't see
the down side of introducing them.  If anything, they separate boilerplate
code (that doesn't have to be modified) from the piece-specific code (which
does).

If part of your point is to make use of \transpose less fraught, I think
you still have an issue, since
users of this template still have to modify "\transpose c c" within that
function.  Something that might be more friendly:

originalKey = c
newKey = f

PieceTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose \originalKey \newKey $m #})

That way, your users won't have to figure out which "c" in "\transpose c c
$m" to adjust.


Glad to hear this discussion has been helpful.


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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divisi staves and notehead merge (issue 3518 revisited)

[Werner LEMBERG]

Please have a look at the `divisi-staves.ly' regression test, which is
the solution to

  https://code.google.com/p/lilypond/issues/detail?id=3518

[Actually, this file contains undocumented features that deserves
documentation due to its importance for orchestral music...]

I want a variation of this, namely solo violin + gli altri:


  boring = \set Staff.keepAliveInterfaces = #'()
  tricky = \unset Staff.keepAliveInterfaces

  violsolo=\relative d' {
\boring \repeat unfold 100 d4
\tricky 2
\boring \repeat unfold 98 d4
\bar "|."
  }

  viol=\relative d' {
\boring \repeat unfold 100 d4
\tricky d4 d4
\boring \repeat unfold 98 d4
\bar "|."
  }

  \score {
\new StaffGroup \with { \consists "Keep_alive_together_engraver" }
<<
  \new Staff \with { instrumentName = "Violin solo"
 shortInstrumentName = "V solo"
 \override VerticalAxisGroup.remove-empty = ##t
 \override VerticalAxisGroup.remove-first = ##t
 \override VerticalAxisGroup.remove-layer = 1
   } \violsolo

  \new Staff \with { instrumentName = "Violin gli altri"
 shortInstrumentName = "V"
 \override VerticalAxisGroup.remove-empty = ##t
 \override VerticalAxisGroup.remove-first = ##t
 \override VerticalAxisGroup.remove-layer = 1
   } \viol
  \new Staff \with { instrumentName = "Violin"
 shortInstrumentName = "V"
 \override VerticalAxisGroup.remove-layer = 2
   } << \violsolo \viol >>
>>
\layout {
  short-indent = 2\cm
  indent = 3\cm
}
  }


Note the missing `\\' in `<< \violsolo \viol >>'.  The attached image
shows the result, which is not yet what I would like to have.  Now my
question: Does lilypond have already a property to make the noteheads
merge even if the stems are in the same direction?  Or can you advise
a better solution?



Werner
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How to remove tags from music returned by \keepWithTag ?

[Jim Long]

If I:

music = \relative c'' {
  \tag #'a { a a a a }
  \tag #'b { b b b b }
}

and then:

musicA = \keepWithTag #'a \music

\keepWithTag gives me the equivalent of:

musicA = \relative c'' { \tag #'a { a a a a } }

What I want is:

musicA = \relative c'' { a a a a }

In other words, I'd like to find a function similar to
\keepWithTag, except that the returned music expression would be
entirely free of all tags.  Perhaps even better would be a
general function which simply strips \tag attributes from a music
expression, but leaves the tagged music itself.

Is this possible?

Jim



music = \relative c'' {
  \tag #'a { a a a a }
  \tag #'b { b b b b }
}

musicA = \keepWithTag #'a \music
% Using \keepWithTag gives me:
% musicA = \relative c'' { \tag #'a { a a a a } }
% what I want is:
% musicA = \relative c'' { a a a a }

musicB = \keepWithTag #'b \music

\markup "Music I:"
\score { \music }

\markup "Music II:"
\score { \musicA }

\markup "Music III:"
\score { \keepWithTag #'aardvark \musicA }

\markup "Music IV:"
\score { \musicB }

\markup "Music V:"
\score { \keepWithTag #'beeblebrox \musicB }


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