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

[Phil Holmes]

- Original Message - 
From: 

To: "Phil Holmes" 
Cc: "lilypond-user" 
Sent: Monday, March 09, 2015 7:01 PM
Subject: Re: Getting ragged-last-bottom et. al to work?



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



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


Well, the example you sent is too complex to debug by sight and doesn't 
compile without all the included files, but ragged-last in a layout block 
definitely does work as documented:


\score {
   \repeat unfold 52 c''
   \layout {
   ragged-last = ##t
   }
}

\score {
   \repeat unfold 52 c''
   \layout {
   ragged-last = ##f
   }
}

--
Phil Holmes


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

[Michael Hendry]

> On 10 Mar 2015, at 02:14, Flaming Hakama by Elaine  
> wrote:
> 
> 
> > 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 #})

OK, I get you now.

I think such transpositions are sufficiently rare that they could safely be 
“left as an exercise for the reader”; putting them all in would generate a lot 
of unwanted parts.

If there were a conditional-compilation feature (as in “C”), like...

#DEFINE ALTOSAXPART
…
#IFDEF ALTOSAXPART
   (do the alto part here)
#ENDIF

…then the user could suppress (for example) then French Horn part using…

#UNDEF FRENCHHORNPART

…but I think that overcomplicates what is intended to be a quick and easy way 
for Lilypond novices to produce the standard set of leadsheets (for Concert, Bb 
and Eb instruments).

> 
> 
> 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 } “  

Agreed, as do function calls - which I sometimes use knowing that only one call 
is planned, not just to modularise the code and make it easier to debug at the 
time, and also to understand what is going on when I come across the code some 
years later!

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

It’s a matter of opinion which is clearer - we’re not talking about conserving 
every last byte of memory and squeezing out every unnecessary CPU cycle from 
the code.

> 
> 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.

Excellent.

But further on, I prefer...

\TrumpetTranspose \PieceTranspose \TheHead

…to…

\TrumpetTranspose \TransposedHead

…because it is clear that \TheHead as originally defined is being transposed 
twice.

No matter - whichever choice is made it will be in the “don’t touch if you 
don’t know what you’re doing” section.

I’ll do some road-testing on some of my jam-session colleagues, and get 
feedback.


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Re: How to remove tags from music returned by \keepWithTag ?

[Thomas Morley]

2015-03-10 6:55 GMT+01:00 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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Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)

Cheers,
  Harm

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Re: Trouble with stem length while using cross piano staff chord engraver

[Kevin Barry]

Hi Hu,

I'm not sure I understand what you are trying to do. Bar 27 of the
Takemitsu doesn't include any cross staff stems and neither do any of the
examples on the github page. Can you be more specific about what exactly
you want?

Kevin

On Mon, Mar 9, 2015 at 11:45 PM, 良ϖ  wrote:

> ​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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>
>
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Testing, feedback and help requested for new font UX

[Urs Liska]

Hi all,

I've invested quite some energy to create new ways of managing and using 
Abraham's great alternative fonts with LilyPond, and I'm nearly ready to 
release that work.


Therefore I need some assistance by others to help testing, discussing 
and improving the interface and functionality. as I don't want to talk 
about it publicly yet pleaseget in touch with me directly.


The only prerequisite is that you use openLilyLib through its Github 
repository.
If you have experience with Python and/or Scheme you could help more, 
but the basic "qualification" is an interest in using alternative fonts 
with LilyPond.


Best
Urs

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Re: Trouble with stem length while using cross piano staff chord engraver

[Kevin Barry]

By the way, here's how I would do the red circled section in the Takemitsu

\version "2.18.2"

rha = \relative {
  \voiceOne
  s16 s8 s4 s8 g16[ bes,]\laissezVibrer
}

rhb = \relative {
  16[ 8]~ q4\laissezVibrer
  \ottava #1
  \voiceTwo
  \omit TupletBracket
  \once \override Beam.positions = #'(-4 . -4)
  \tuplet 3/2 { a''16^\accent[ aes' e~ } 8]
}

rhc = \relative {
  s16 s8 s4
  \hideNotes
  \override NoteColumn.ignore-collision = ##t
  a''8~ a
}

rhd = \relative {
  s16 s8 s4
  \hideNotes
  \override NoteColumn.ignore-collision = ##t
  \omit TupletNumber
  \tuplet 3/2 8 { s16 aes'''8~ } aes
}

\new Staff <<
  \cadenzaOn
  \new Voice \rha
  \new Voice \rhb
  \new Voice \rhc
  \new Voice \rhd
>>


On Tue, Mar 10, 2015 at 11:28 AM, Kevin Barry  wrote:

> Hi Hu,
>
> I'm not sure I understand what you are trying to do. Bar 27 of the
> Takemitsu doesn't include any cross staff stems and neither do any of the
> examples on the github page. Can you be more specific about what exactly
> you want?
>
> Kevin
>
> On Mon, Mar 9, 2015 at 11:45 PM, 良ϖ  wrote:
>
>> ​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
>>
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>
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Beam subdivision

[Andrew Bernard]

I need to subdivide beams in tuplets into groups of two 32s joined by two 
beams, not one. This is pretty common. How can I do this in a more idiomatic, 
and less tedious way than the following?

\version "2.19.16"
\relative c'' {
  \time 1/4
  
    \tuplet 5/4 {
        e,32[
        \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) c'
        \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) bes
        \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) e
        \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) d
        \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) bes'
        \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) g
        \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) d'
        \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) d,
        aes']
      }
}


Andrew


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Re - How to remove tags from music returned by \keepWithTag ?

[Peter Gentry]

Jim
 
Why do you want to remove tags? I must be missing something - AFAIA tags are 
not engraved.
 

regards 
Peter Gentry 

 
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Re: Beam subdivision

[Kevin Barry]

On Tue, Mar 10, 2015 at 12:03 PM, Andrew Bernard 
wrote:

> How can I do this in a more idiomatic, and less tedious way than the
> following?


Hi Andrew,

The following should be what you want. It works by setting the baseMoment
to a theoretical value of 1/20 (that is, four fifths of a semiquaver, which
is the duration of the two-demisemiquaver groups in your example).

\version "2.18.2"

\relative c'' {
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/20)
  \set beatStructure = #'(5)
  \tuplet 5/4 {
e,32[ c' bes e d bes' g d' d, aes']
  }
}
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Disable spaces around italic text

[Ian Mackinnon]

When using `\italic`, it seems that spaces are inserted before and after the 
formatted text. Is it possible to disable this, ie, place an italic character 
directly next to a non-italic character?

For example, the following prints 'a b c d e f g'; would it be possible to 
make it print 'ab cde fg', with b, c, e and f still italic?

\version "2.12.2"

\markup {
  a\italic{b c}d\italic"e f"g.
}

As an aside, it seems one can use either braces or double quotes to format a 
string containing spaces. Is there a difference between these two methods?

Thanks!


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Re: Beam subdivision

[Andrew Bernard]

This is good, and helpful, but I was wanting two beams between the groups of 
32s, not one. [Maybe this is non standard after all.]


On 10 March 2015 at 23:27:30, Kevin Barry (barr...@gmail.com) wrote:

The following should be what you want. It works by setting the baseMoment to a 
theoretical value of 1/20 (that is, four fifths of a semiquaver, which is the 
duration of the two-demisemiquaver groups in your example).

\version "2.18.2"

\relative c'' {
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/20)
  \set beatStructure = #'(5)
  \tuplet 5/4 {
    e,32[ c' bes e d bes' g d' d, aes']
  }
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Re: Disable spaces around italic text

[Kevin Barry]

On Tue, Mar 10, 2015 at 12:34 PM, Ian Mackinnon 
wrote:

> When using `\italic`, it seems that spaces are inserted before and after
> the
> formatted text. Is it possible to disable this, ie, place an italic
> character
> directly next to a non-italic character?
>

Hi Ian,

LilyPond adds space between all markups. To glue two or more things
together you need to use the \concat function, e.g.:

\markup {
  \concat { a \italic {b c} d \italic "e f" g. }
}

By the way, version 2.12, if that is what you are using, is well out of
date. You should upgrade to 2.18. It's 100% awesome!

Kevin
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Re: Disable spaces around italic text

[Ian Mackinnon]

Thanks Kevin, that solves the problem.

I used weblily.net to write my example, and that seems to use v2.12.2, but
I have the latest version installed locally, thanks :)



---
imackin...@gmail.com
@imackinnon 
España: +34722747843
UK: +447770838710
---

On 10 March 2015 at 13:43, Kevin Barry  wrote:

>
> On Tue, Mar 10, 2015 at 12:34 PM, Ian Mackinnon 
> wrote:
>
>> When using `\italic`, it seems that spaces are inserted before and after
>> the
>> formatted text. Is it possible to disable this, ie, place an italic
>> character
>> directly next to a non-italic character?
>>
>
> Hi Ian,
>
> LilyPond adds space between all markups. To glue two or more things
> together you need to use the \concat function, e.g.:
>
> \markup {
>   \concat { a \italic {b c} d \italic "e f" g. }
> }
>
> By the way, version 2.12, if that is what you are using, is well out of
> date. You should upgrade to 2.18. It's 100% awesome!
>
> Kevin
>
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Re: Ace editor - Lilypond support

[Erik Nilsson]

Thanks for the input!

I'll have a look at the VIM files, although I'm not familiar with their
format.

I've found that there is an automatic importer for Ace that can take a
syntax described in a .tmLanguage file (Text Mate format).

There are such files for Lilypond here:
https://github.com/yrammos/SubLilyPond

I haven't given it a try yet but the generated files might be a good enough
start for getting Lilypond support in Ace.

//Erik



On Mon, Mar 9, 2015 at 5:39 PM, Michael Hendry 
wrote:

>
> 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: Beam subdivision

[Kevin Barry]

On Tue, Mar 10, 2015 at 12:40 PM, Andrew Bernard 
wrote:

> This is good, and helpful, but I was wanting two beams between the groups
> of 32s, not one. [Maybe this is non standard after all.]


Ah my apologies; I misread your mail. A quick search didn't yield what
property sets the default at one beam for subdivision. Without changing
that your best bet would be to make a function that does what you wrote
automatically. I'm not good at writing music functions, but below is one I
just hacked up. It only works when there are 10 notes in the tuplet, but it
should illustrate how to do it. The proper way would probably involve
specifying a music-list of notes and working on that. Someone else might
best know how to do it.

\version "2.18.2"

tenTuplet =
#(define-music-function
  (parser location note1 note2 note3 note4 note5 note6 note7 note8 note9
note10)
  (ly:music? ly:music? ly:music? ly:music? ly:music? ly:music? ly:music?
ly:music? ly:music? ly:music?)
  #{
  \tuplet 5/4 { #note1
  \bl #note2
  \br #note3
  \bl #note4
  \br #note5
  \bl #note6
  \br #note7
  \bl #note8
  \br #note9
  #note10 }
  #})

bl = \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1))
br = \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2))

\score {
  \relative c'' {
\time 1/4
\tenTuplet e,32[
  c'
  bes
  e
  d
  bes'
  g
  d'
  d,
  aes']
  }
}
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Re: Getting ragged-last-bottom et. al to work?

[Phil Holmes]

- Original Message - 
From: 

To: "Phil Holmes" 
Cc: "lilypond-user" 
Sent: Tuesday, March 10, 2015 2:30 PM
Subject: Re: Getting ragged-last-bottom et. al to work?





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



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


Well, the example you sent is too complex to debug by sight and doesn't
compile without all the included files, but ragged-last in a layout block
definitely does work as documented:

\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##t
}
}

\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##f
}
}



 Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the 
problem

but I haven't been able to... yet.

All if the files needed to compile my example can be found in

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

Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9" X 12" paper size, which is standard size for music score in
my locale



Your dynamics music is one bar longer than your guitar music, so it pushes 
the guitar music to the left to accommodate it.  Take off your final s2 s2 
and the problem is solved.


--
Phil Holmes 



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

[steve]

   Phil,

   Thats IT   Pulled my hair out for days..

   I'll pay it forward... somehow

thanx - steve


> - Original Message -
> From: 
> To: "Phil Holmes" 
> Cc: "lilypond-user" 
> Sent: Tuesday, March 10, 2015 2:30 PM
> Subject: Re: Getting ragged-last-bottom et. al to work?
>
>
>>
> Subject: Getting ragged-last-bottom et. al to work?
>>>
 Umm,,, no I don't want a ragged layout. I want the last line
 on
 the last page to fill the line..
>>>
>>> Well, the example you sent is too complex to debug by sight and doesn't
>>> compile without all the included files, but ragged-last in a layout
>>> block
>>> definitely does work as documented:
>>>
>>> \score {
>>> \repeat unfold 52 c''
>>> \layout {
>>> ragged-last = ##t
>>> }
>>> }
>>>
>>> \score {
>>> \repeat unfold 52 c''
>>> \layout {
>>> ragged-last = ##f
>>> }
>>> }
>>>
>>
>>  Yes, I have proven to myself that it works for simple examples.
>> I am trying
>> to reduce my example to a simple one that will still demonstrate the
>> problem
>> but I haven't been able to... yet.
>>
>> All if the files needed to compile my example can be found in
>>
>> http://www.gooeytar.com/projects/FourMoments/Python/
>>
>> Also I modified
>> /usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
>> by adding a 9" X 12" paper size, which is standard size for music score
>> in
>> my locale
>
>
> Your dynamics music is one bar longer than your guitar music, so it pushes
> the guitar music to the left to accommodate it.  Take off your final s2 s2
> and the problem is solved.
>
> --
> Phil Holmes
>
>



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

[steve]

>>> Subject: Getting ragged-last-bottom et. al to work?
>
>> Umm,,, no I don't want a ragged layout. I want the last line on
>> the last page to fill the line..
>
> Well, the example you sent is too complex to debug by sight and doesn't
> compile without all the included files, but ragged-last in a layout block
> definitely does work as documented:
>
> \score {
> \repeat unfold 52 c''
> \layout {
> ragged-last = ##t
> }
> }
>
> \score {
> \repeat unfold 52 c''
> \layout {
> ragged-last = ##f
> }
> }
>

  Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the problem
but I haven't been able to... yet.

 All if the files needed to compile my example can be found in

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

 Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9" X 12" paper size, which is standard size for music score in
my locale

 ("gooeytar_9X12" . (cons (* 9.0 in) (* 12.0 in)))


 -steve

> --
> Phil Holmes
>
>
>



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Re: Beam subdivision

[Stephen MacNeil]

\version "2.18.2"


\relative c'' {


% this should be all you need

% if you use \once you can aply it any time


\once \set subdivideBeams = ##t

\set baseMoment = #(ly:make-moment 1/20)

\tuplet 5/4 {


% no square brackets needed


e,32 c' bes e d bes' g d' d, aes'

}


% without


\tuplet 5/4 {

e,32 c' bes e d bes' g d' d, aes'

}


% with


\once \set subdivideBeams = ##t

\tuplet 5/4 {

e,32 c' bes e d bes' g d' d, aes'

}

}
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Re: Beam subdivision

[tisimst]

The other question the OP was asking is can the group default to have TWO full 
beams across the group, while the pairs of 32nd notes are beamed together with 
a third. It seems like non-standard notation, so quick, generic solutions for 
any size of group, outside of a function like the one already proposed, may not 
exist. I had a look through the IR and couldn't find anything that says it will 
only use a SINGLE beam across the whole group. 

- Abraham

Sent from my iPhone

> On Mar 10, 2015, at 9:30 AM, Stephen MacNeil [via Lilypond] 
>  wrote:
> 
> \version "2.18.2"
> 
> \relative c'' {
> 
> % this should be all you need
> % if you use \once you can aply it any time
> 
> \once \set subdivideBeams = ##t
> \set baseMoment = #(ly:make-moment 1/20)
> \tuplet 5/4 {
> 
> % no square brackets needed
> 
> e,32 c' bes e d bes' g d' d, aes'
> }
> 
> % without
> 
> \tuplet 5/4 {
> e,32 c' bes e d bes' g d' d, aes'
> }
> 
> % with
> 
> \once \set subdivideBeams = ##t
> \tuplet 5/4 {
> e,32 c' bes e d bes' g d' d, aes'
> }
> }
> 
> 
> 
> ___ 
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> 
> 
> If you reply to this email, your message will be added to the discussion 
> below:
> http://lilypond.1069038.n5.nabble.com/Beam-subdivision-tp172911p172923.html
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Re: How to set alternative chord names?

[Peter Teeson]

thank you for your advice… I will explore and learn from it.

respect

Peter (nidan)
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Re: Help please with alternate jazz chord naming system

[Peter Teeson]

Thanks for your help. I will explore and learn..

respect…

Peter
On 2015-03-09, at 2:53 PM, Tim McNamara  wrote:

> 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:
>> 
>> 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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Re: How to remove tags from music returned by \keepWithTag ?

[Jim Long]

On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
> 
> Something in
> http://lsr.di.unimi.it/LSR/Item?id=871
> which matches your needs?
> (didn't test myself)
> 
> Cheers,
>   Harm

Thank you, Harm!  That looks very promising.  I must train myself
to remember the snippet repository when I'm Googling for
solutions.

\taggedRep looks especially interesting.  I often use the
'extractMusic' family of snippet functions, for cases when a
phrase repeats, but with slight variation (most conveniently, at
the beginning or ending of the phrase):

\include "extractMusic.ily" % http://lsr.dsi.unimi.it/LSR/Item?id=542

Aphrase = {
  c'4 d' e' f'
  g' a' b' c''
  c'' b' a' g'
  f' e' d' c'
}

\score {
  \extractBegin { \repeat unfold 3 \Aphrase } s1*11 % copy first 11 bars
  d'4 f' e' c' % 12th bar
}

But \taggedRep doesn't quite fit that use case.  Hmm, I'll have
to muse over it a while and see if new uses for \taggedRep reveal
themselves to me.

Thanks again!

Jim
\include "extractMusic.ily" % http://lsr.dsi.unimi.it/LSR/Item?id=542
\include "tagging.ily" % http://lsr.di.unimi.it/LSR/Item?id=871

Aphrase = {
  c'4 d' e' f'
  g' a' b' c''
  c'' b' a' g'
  f' e' d' c'  
}

\score {
  \new Staff {
\extractBegin { \repeat unfold 3 \Aphrase } s1*11 % copy first 11 bars
d'4 f' e' c' % 12th bar
  }
}

Aphrase = {
  c'4 d' e' f'
  g' a' b' c''
  c'' b' a' g' 
  <<
{ f' e' d' c' } % 4th bar and 8th bar
\tag #'lasttime { d'4 f' e' c' } % 12th bar
  >>
}

\score {
  \new Staff \taggedRep #'firsttime #'lasttime 3 \Aphrase
}



foo.pdf
Description: Adobe PDF document
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Re: Beam subdivision

[Rutger Hofman]

On 03/10/2015 05:52 PM, tisimst wrote:

The other question the OP was asking is can the group default to have
TWO full beams across the group, while the pairs of 32nd notes are
beamed together with a third. It seems like non-standard notation, so
quick, generic solutions for any size of group, outside of a function
like the one already proposed, may not exist. I had a look through the
IR and couldn't find anything that says it will only use a SINGLE beam
across the whole group.

- Abraham


Gould (Behind Bars) pp.156,157 says that the number of beams between 
subgroups should reflect the duration of the subgroup. So, if 32nd notes 
are subgrouped into groups of 4, the subgroup duration is 1/8 and the 
beam count between subgroups should be 1. If 32nd notes are subgrouped 
into groups of 2, or 64th notes are subgrouped into groups of 4, then 
the subgroup duration is 1/16 and the beam count between subgroups 
should be 2.


Is this different from Lilypond's default behaviour?

Rutger Hofman
Amsterdam



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Re: Beam subdivision

[Noeck]

Hi,

On 03/10/2015 05:52 PM, tisimst wrote:
>> The other question the OP was asking is can the group default to have
>> TWO full beams across the group

Am 10.03.2015 um 21:01 schrieb Rutger Hofman:
> So, if 32nd notes are subgrouped into groups of 4, the subgroup duration is 
> 1/8 and the
> beam count between subgroups should be 1. If 32nd notes are subgrouped into 
> groups of 2, then
> the subgroup duration is 1/16 and the beam count between subgroups should be 
> 2.
> 
> Is this different from Lilypond's default behaviour?

Yes. LilyPond always uses one beam connecting all notes:

\version "2.18.2"

{
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/8)
  a32 a a a a a a a
  \set baseMoment = #(ly:make-moment 1/16)
  a32 a a a a a a a
}

And this is not only the default behaviour, but also it is not obvious
how to tweak it to get the two connecting beams, the OP want (and that
comply with Gould’s recommendation you mentioned above.

Cheers,
Joram

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Re: Beam subdivision

[Trevor Daniels]

tisimst wrote Tuesday, March 10, 2015 4:52 PM

> The other question the OP was asking is can 
> the group default to have TWO full beams 
> across the group, ...
> I had a look through the IR and couldn't find 
> anything that says it will only use a SINGLE 
> beam across the whole group. 

The snippet in NR 1.2.4 Beams which shows how to subdivide beams says:

"When set, multiple beams will be subdivided at intervals defined by the 
current value of baseMoment by reducing the multiple beams to just one beam 
between the sub-groups."

But you're right in the sense that there is no accessible property that 
controls the number of inter-group beams, and there should be, or even better, 
LilyPond should just do the correct subdivision if subdivideBeams is set.  In 
"Behind Bars", on pages 156-157, Elaine Gould makes it quite explicit that 
using a single beam to separate groups of four 64th notes is wrong.  She says, 
"the number of beams separating the groups [should be] equal to the duration of 
the groups they separate".  A group of four 64th notes equals a 16th, so two 
such groups should be separated by a 16th beam, i.e. two beams.  Four such 
groups should have two beams between first and second and between third and 
fourth groups, and a single beam between second and third.  She gives an 
example showing exactly this.

There is an enhancement request for this: see
https://code.google.com/p/lilypond/issues/detail?id=2361

Trevor

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Re: Beam subdivision

[Thomas Morley]

2015-03-10 22:29 GMT+01:00 Trevor Daniels :
> tisimst wrote Tuesday, March 10, 2015 4:52 PM
>
>> The other question the OP was asking is can
>> the group default to have TWO full beams
>> across the group, ...
>> I had a look through the IR and couldn't find
>> anything that says it will only use a SINGLE
>> beam across the whole group.
>
> The snippet in NR 1.2.4 Beams which shows how to subdivide beams says:
>
> "When set, multiple beams will be subdivided at intervals defined by the 
> current value of baseMoment by reducing the multiple beams to just one beam 
> between the sub-groups."
>
> But you're right in the sense that there is no accessible property that 
> controls the number of inter-group beams, and there should be, or even 
> better, LilyPond should just do the correct subdivision if subdivideBeams is 
> set.  In "Behind Bars", on pages 156-157, Elaine Gould makes it quite 
> explicit that using a single beam to separate groups of four 64th notes is 
> wrong.  She says, "the number of beams separating the groups [should be] 
> equal to the duration of the groups they separate".  A group of four 64th 
> notes equals a 16th, so two such groups should be separated by a 16th beam, 
> i.e. two beams.  Four such groups should have two beams between first and 
> second and between third and fourth groups, and a single beam between second 
> and third.  She gives an example showing exactly this.
>
> There is an enhancement request for this: see
> https://code.google.com/p/lilypond/issues/detail?id=2361
>
> Trevor


I'm with Trevor, LilyPond's default should do it correctly, if
subdivideBeams = ##t

Nevertheless, maybe the following is of some help for the current request.
Although trying to typeset the example David Bobroff gave in said
issue is not really convincing.



\version "2.19.16"

set-connected-beam-counts =
#(define-music-function (parser location val music)(integer? ly:music?)
#{
  \temporary
\override Stem.after-line-breaking =
  #(lambda (grob)
(let*((beaming (ly:grob-property grob 'beaming)))
 (if (>= val 0)
 (begin
   (if (and (list? (car beaming))
(= (caar beaming) 0))
   (ly:grob-set-property! grob 'beaming
 (cons (iota val) (cdr beaming

   (if (and (list? (cdr beaming))
(= (cadr beaming) 0))
   (ly:grob-set-property! grob 'beaming
 (cons (car beaming) (iota val)
  (ly:message "negative beam-count detected, ignoring"
  $music
  \revert Stem.after-line-breaking
#})


%%
%% EXAMPLE
%%

\paper { line-width = 80 indent = 0 }

mI = \tuplet 5/4 { e,32[ c' bes e d bes' g d' d, aes'] \bar "" \break }

mII = \tuplet 5/4 { e,128[ c' bes e d bes' g d' d, aes'] \bar "" \break }
mIII = { c64[ d e f g f e d c d e f] \bar "" \break }

\version "2.18.2"

\relative c'' {
  \cadenzaOn

  \set subdivideBeams = ##t

  \set beatStructure = #'(5)
  \set baseMoment = #(ly:make-moment 1/20)

  \set-connected-beam-counts 2
  \mI

  \set baseMoment = #(ly:make-moment 1/80)

  \set-connected-beam-counts 0
  \mII

  \set-connected-beam-counts 1
  \mII

  \set-connected-beam-counts 2
  \mII

  \set-connected-beam-counts 3
  \mII

  \set-connected-beam-counts 4
  \mII

  \set-connected-beam-counts 5
  \mII

  \set-connected-beam-counts 6
  \mII

  \set-connected-beam-counts 7
  \mII

  \set baseMoment = #(ly:make-moment 2/64)
  \set-connected-beam-counts 1
  \mIII

  \set baseMoment = #(ly:make-moment 3/64)
  \set-connected-beam-counts 2
  \mIII

  \set baseMoment = #(ly:make-moment 4/64)
  \set-connected-beam-counts 3
  \mIII
}

%% https://code.google.com/p/lilypond/issues/detail?id=2361
%% typesetting the example by David Bobroff

\relative c {
  \clef bass
  \key e \major
  \omit Staff.TimeSignature
  \time 3/8

  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/16)

  fis8~

  fis32.
  \set-connected-beam-counts 2
  { gis64 fis32.} gis64
  fis32.
  \set-connected-beam-counts 2
  { gis64 fis32. }
  gis64
}



Cheers,
  Harm

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Re: Beam subdivision

[Andrew Bernard]

Trevor,

Thanks! Indeed lilypond is not doing the right thing, and needs to be 
adjustable by the user in this aspect.

I can do it the original way with explicit beam control, so there is a 
solution. It’s just very tedious and error prone - when there are several 
hundred of these in the score I am setting. The suggestion to make the commands 
into music functions will work fine for now. Thanks Kevin!

Andrew

On 11 March 2015 at 08:31:44, Trevor Daniels (t.dani...@treda.co.uk) wrote:


There is an enhancement request for this: see  
https://code.google.com/p/lilypond/issues/detail?id=2361  

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Re: Trouble with stem length while using cross piano staff chord engraver

[良ϖ]

Hi Kevin,

Thanks a lot for your replies. Your code example eventually runs and brings
me a lot of interesting stuff. I should use hidden notes technique more
often, it's very convenient. ​Actually you're right, my examples were wrong
– shame!~ Maybe I got a proper example than I changed something and didn't
notice example has got wrong. Actually original bar 27 doesn't contain
cross-staff chords but Rain Tree Sketch does and at first I believed the
problem was because of that.

Your rocking example has solved my problem in an elegant way, thank you
very much! I've adjusted your code (note name turned Italian and few notes
added, nothing special) and put it into this folder

.

Would you mind to give me a last advice about that bar? Lines 87 sqq. in
the (now-)working example I set a variable to make sure notes are grouped
the correct way. It works but would you know anything lighter or is this
the correct way?

Thanks again :-)

胡雨軒 Yuxuan Hu
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Pedal line staff sepation

[Andrew Bernard]

I would like to have piano music with a normal two staff layout with a separate 
line for dynamics and under that a separate line for pedal indications. 
Whatever I do I can only get the pedal and the dynamics staff overlapping at 
the same distance from the bottom stave. How does one achieve the separation 
and control over the spacing of multiple Dynamics staves in a a piano score? Do 
you need to create a special pedal context object?

Using version 2.19.16.

Andrew




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Re: Help please with alternate jazz chord naming system

[Peter Teeson]

Hi Tim:
On 2015-03-09, at 2:53 PM, Tim McNamara  wrote:
> 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.
Have you finished the Brandt Roemer conventions or is it still a wip?

>  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.
I am the OP . In fact I have both a "C" Edition Ultimate Jazz Fakebook 
published by Hal Leonard 1988/
this is a typeset book and was good for gigs.
 
I also have a "Real" book which was given to me. Don't like the font but the 
chord changes are OK.

respect…

Peter

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Re: How to remove tags from music returned by \keepWithTag ?

[Keith OHara]

Jim Long  umpquanet.com> writes:

> 
> On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
> > 
> > Something in
> > http://lsr.di.unimi.it/LSR/Item?id=871
> > which matches your needs?
> > (didn't test myself)

> \taggedRep looks especially interesting.  I often use the
> 'extractMusic' family of snippet functions, for cases when a
> phrase repeats, but with slight variation (most conveniently, at
> the beginning or ending of the phrase):

> But \taggedRep doesn't quite fit that use case. 

The development version has a \tagGroup concept, that is intended
as a general solution to some of the problems LSR snippet 871
is intended to solve.  There is basic documentation in the 
version 2.19.16 manuals, and some background here
 http://code.google.com/p/lilypond/issues/detail?can=2&q=4083

For some uses of \taggedRep, a simple alternative is parallel music
<<
  \repeat unfold 16 {c'4 d' e' f'}
  {s1\p s1\< s1*13 s4 s s s\f }
>>


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Some things that make life easy for me

[Stephen MacNeil]

These are some basic hacks that make my life easier. Lots are borrowed and
modified for guitar, or what I needed it for. Things could be better I know.


Just Thought I would share some things I tend to use.


http://www.mglessons.com/lilypond/guitar-current-example.pdf

http://www.mglessons.com/lilypond/Guitar-current.tar


If it's useful GREAT!!


Stephen
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