Re: Disappearing barlines with skipBars - possible bug?

[Mark Knoop]

At 23:42 on 23 Mar 2015, Kevin Barry wrote:
>On Mon, Mar 23, 2015 at 6:16 PM, Mark Knoop  wrote:
>> Barlines disappear when skipBars is true and a note duration
>> continues over the bar. I don't think this should happen.
>
>It is consistent with the IR definition of the property: `If set to
>true, then skip the empty bars that are produced by
>multimeasure /notes/ and rests' [my emphasis]. So it applies to both
>notes and rests.

I disagree. The definition states nothing about hiding *barlines*
(although technically the implementation of this will obviously involve
hiding barlines). Also, in the example given, none of the bars are
empty - each bar has an event.

>You may be right that the behaviour is undesirable though. I must admit
>that I can't think of a score where this would be an issue. 

Tuplets across barlines are a relatively common notational practice and
work perfectly well in LilyPond. It is undesirable that they should
require a workaround for use in parts with skipBars.

>If you think this should be changed maybe you should forward your mail
>to the bug mailing list: bug-lilyp...@gnu.org

I would be interested in others' opinions on this.

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Re: layout-set-staff-size: will it ever be fixed?

[Mark Knoop]

>> Am 23.03.2015 um 21:53 schrieb Nikolai Hedler:
>>>  Would you like to enlighten me, then? Or do you mean to recommend
>>> that I just use the hackish workaround?
>>>

Actually the following works perfectly well in a single file:

\version "2.18.2"

#(set-global-staff-size 15)
\book {
\bookOutputName "score"
\score { ... }
\paper {
#(set-paper-size "a3" 'portrait)
}
}

#(set-global-staff-size 20)
\book {
\bookOutputName "part_1"
\score { ... }
\paper {
#(set-paper-size "b4" 'portrait)
}
}

\book {
\bookOutputName "part_2"
\score { ... }
\paper {
#(set-paper-size "b4" 'portrait)
}
}


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Re: rendered pdf files

[Simon Albrecht]

Hello Stephen,

sounds interesting, but I don’t think there’s any way of judging this 
without any examples (code and output).


Yours,
Simon

Am 24.03.2015 um 03:31 schrieb Stephen MacNeil:
the files when i  compiled on my linux box render a more compressed 
look then those on my friends windows?


same file both have 2.18.2

why?


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Re: Disappearing barlines with skipBars - possible bug?

[Kevin Barry]

On Tue, Mar 24, 2015 at 9:01 AM, Mark Knoop  wrote:

> Tuplets across barlines are a relatively common notational practice and
> work perfectly well in LilyPond. It is undesirable that they should
> require a workaround for use in parts with skipBars.
>

If I understand you correctly it seems that skipBars simply shouldn't apply
to notes then? To clarify what I meant: I can't think of any score where
notes that cross barlines would leave any bars empty, which begs the
question of what exactly skipBars is supposed to do with notes that cross
barlines? My understanding was that it merges the bars in question.

I would be interested in others' opinions on this.


I still think you should send this to the bug list, where it is more likely
to get discussed (some of the developers there are not subscribed to the
user list).
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Re: Disappearing barlines with skipBars - possible bug?

[Mark Knoop]

At 12:31 on 24 Mar 2015, Kevin Barry wrote:
>On Tue, Mar 24, 2015 at 9:01 AM, Mark Knoop  wrote:
At 18:16 on 23 Mar 2015, Mark Knoop wrote:
>>>Barlines disappear when skipBars is true and a note duration
>>>continues over the bar. I don't think this should happen.
>>>
>>>\version "2.18.2"
>>>
>>>{
>>>  \time 2/4
>>>  r4 c'2 r4
>>>  r4 \tuplet 3/2 { c'2 d'4 } r4
>>>  \set Score.skipBars = ##t
>>>  r4 c'2 r4
>>>  r4 \tuplet 3/2 { c'2 d'4 } r4
>>>}
>>>
>> Tuplets across barlines are a relatively common notational practice
>> and work perfectly well in LilyPond. It is undesirable that they
>> should require a workaround for use in parts with skipBars.
>
>If I understand you correctly it seems that skipBars simply shouldn't
>apply to notes then? To clarify what I meant: I can't think of any
>score where notes that cross barlines would leave any bars empty,

{ \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty

{ \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty

>which begs the question of what exactly skipBars is supposed to do
>with notes that cross barlines? My understanding was that it merges
>the bars in question.

skipBars is introduced in the Learning Manual (3.4.5 Scores and parts)
as a way of condensing multi-measure rests. Its only references in the
Manuals are regarding this function. I suspect its impact on notes
crossing barlines is either unintended or at least not thought through.

I can't imagine a situation where the current behaviour would be
desirable (silently hiding a barline thus changing the length of a bar)
and it would certainly seem to be a very different use case than
condensing multi-measure rests. If there is a case for keeping the
behaviour, I would suggest a separate property for notes that cross
barlines.

>>I would be interested in others' opinions on this.
>
>I still think you should send this to the bug list, where it is more
>likely to get discussed (some of the developers there are not
>subscribed to the user list).


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Re: Disappearing barlines with skipBars - possible bug?

[Kevin Barry]

On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop  wrote:

> { \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
>
> { \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
>

At best I would consider these to be non-standard notation. At worst I'd
say it's incorrect. It's possible to write a note value longer than a bar,
but I don't think there is an accepted standard for notating that, except
for connecting smaller note values with ties. And as I said before I have
never seen it in a score (do you have any examples?).

skipBars is introduced in the Learning Manual (3.4.5 Scores and parts)
> as a way of condensing multi-measure rests. Its only references in the
> Manuals are regarding this function. I suspect its impact on notes
> crossing barlines is either unintended or at least not thought through


It's just used there as an example of a context property. I agree that its
behaviour for notes rather than rests might not be thought through (but it
/is/ mentioned in the IR so it may not be unintended). Normally full-bar
rests are condensed with \compressFullBarRests (which probably just sets
skipBars to #t, but I didn't check).

I can't imagine a situation where the current behaviour would be
> desirable (silently hiding a barline thus changing the length of a bar)
> and it would certainly seem to be a very different use case than
> condensing multi-measure rests.


I think the default behaviour (without touching skipBars) is ok, and agree
that there's no apparent need for it to affect notes (the possible scenario
with long notes and short empty bars seems implausible). So perhaps
skipBars could be changed to only affect rests, or at the very least a
different context property could be used as an example in the learning
manual (or both).

I verified that \compressFullBarRests does indeed affect notes as well, so
if you want to file a bug report then perhaps proceed on that basis.
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Re: Disappearing barlines with skipBars - possible bug?

[tisimst]

You guessed right, Kevin. It's defined in "ly/property-init.ly":

compressFullBarRests = \set Score.skipBars = ##t

- Abraham

On Tue, Mar 24, 2015 at 9:44 AM, Kevin Barry [via Lilypond] <
ml-node+s1069038n173568...@n5.nabble.com> wrote:

>
> On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop <[hidden email]
> > wrote:
>
>> { \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
>>
>> { \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
>>
>
> At best I would consider these to be non-standard notation. At worst I'd
> say it's incorrect. It's possible to write a note value longer than a bar,
> but I don't think there is an accepted standard for notating that, except
> for connecting smaller note values with ties. And as I said before I have
> never seen it in a score (do you have any examples?).
>
> skipBars is introduced in the Learning Manual (3.4.5 Scores and parts)
>> as a way of condensing multi-measure rests. Its only references in the
>> Manuals are regarding this function. I suspect its impact on notes
>> crossing barlines is either unintended or at least not thought through
>
>
> It's just used there as an example of a context property. I agree that its
> behaviour for notes rather than rests might not be thought through (but it
> /is/ mentioned in the IR so it may not be unintended). Normally full-bar
> rests are condensed with \compressFullBarRests (which probably just sets
> skipBars to #t, but I didn't check).
>
> I can't imagine a situation where the current behaviour would be
>> desirable (silently hiding a barline thus changing the length of a bar)
>> and it would certainly seem to be a very different use case than
>> condensing multi-measure rests.
>
>
> I think the default behaviour (without touching skipBars) is ok, and agree
> that there's no apparent need for it to affect notes (the possible scenario
> with long notes and short empty bars seems implausible). So perhaps
> skipBars could be changed to only affect rests, or at the very least a
> different context property could be used as an example in the learning
> manual (or both).
>
> I verified that \compressFullBarRests does indeed affect notes as well, so
> if you want to file a bug report then perhaps proceed on that basis.
>
>
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Re: Disappearing barlines with skipBars - possible bug?

[Mark Knoop]

At 15:43 on 24 Mar 2015, Kevin Barry wrote:
>On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop  wrote:
>
>> { \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
>>
>> { \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
>>
>
>At best I would consider these to be non-standard notation. At worst
>I'd say it's incorrect. It's possible to write a note value longer
>than a bar, but I don't think there is an accepted standard for
>notating that, except for connecting smaller note values with ties.
>And as I said before I have never seen it in a score (do you have any
>examples?).

I agree these are contrived examples and am not claiming them to be
standard notation. However tuplets spanning barlines are common in
contemporary music and that is the context where this bug appears.

>> skipBars is introduced in the Learning Manual (3.4.5 Scores and
>> parts) as a way of condensing multi-measure rests. Its only
>> references in the Manuals are regarding this function. I suspect its
>> impact on notes crossing barlines is either unintended or at least
>> not thought through
>
>It's just used there as an example of a context property. 

Um, no: "When printing the part, multi-rests must be condensed. This is
done by setting a run-time variable \set Score.skipBars = ##t"

It is in Notation Reference 5.3.2 that it's used as an example of a
context property, although still with reference to its use for
combining multimeasure rests.

>I agree that its behaviour for notes rather than rests might not be
>thought through (but it /is/ mentioned in the IR so it may not be
>unintended). Normally full-bar rests are condensed with
>\compressFullBarRests (which probably just sets skipBars to #t, but I
>didn't check).

Yes, it's just a shortcut:

ly/property-init.ly:156:compressFullBarRests = \set Score.skipBars = ##t

>I can't imagine a situation where the current behaviour would be
>> desirable (silently hiding a barline thus changing the length of a
>> bar) and it would certainly seem to be a very different use case than
>> condensing multi-measure rests.
>
>I think the default behaviour (without touching skipBars) is ok, and
>agree that there's no apparent need for it to affect notes (the
>possible scenario with long notes and short empty bars seems
>implausible). So perhaps skipBars could be changed to only affect
>rests, or at the very least a different context property could be used
>as an example in the learning manual (or both).
>
>I verified that \compressFullBarRests does indeed affect notes as
>well, so if you want to file a bug report then perhaps proceed on that
>basis.

cced to bug-lilypond

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Re: Directional NoteHead Stencil Support

[David Nalesnik]

Harm,

On Sat, Mar 21, 2015 at 3:14 PM, Thomas Morley 
wrote:
>
>
> Hi David,
>
> please consider to add it to our source.
> It's a very useful developing/debugging tool!
>
>
Happy to oblige!

https://code.google.com/p/lilypond/issues/detail?id=4328

--David
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Re: [LSR] Colored notes with black outlines (enhancement).

[Paul Morris]

Schneidy wrote
> Ok! Well done Paul!
> See : http://lsr.di.unimi.it/LSR/Item?id=890 (note that I've simplified
> the
> thickness decimals).
> 
> Please feel free to add/ delete/ modify anyting you want.

Looks good!  Thanks for working on this.  I can't think of anything to
change, except one little thing -- it still says "0.07 is a good default."

Cheers,
-Paul



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Re: Directional NoteHead Stencil Support

[Paul Morris]

David Nalesnik-2 wrote
> If  there's a property which indicates on which side of a stem the note
> falls, I don't find it.  Seems like there definitely should be one!

I don't think there is one.  The positioning of note heads to the left or
right of their stem appears to be determined in lily/stem.cc in
Stem::calc_positioning_done which starts around line 320.

But anyway, there are other ways to find out these note head positions.

David N, your display-pointers function looks really handy!  Glad you've
prepared a patch for that.

Cheers,
-Paul



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Notes in voiceone corrupt voicethree after voice splitting?

[steve]

  Howdy!

 I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.

Each bar shows a different behaviour depending on the first voice

   bar 1 -   seems ok
   bar 2 -  seems ok and NoteColumn.force-hshift   works in voicethree
   bar 3 -  a quarter note on beat 3 in voiceone causes a collision in
voicethree and NoteColumn.force-hshift doesn't work

   bar 4 - a simple white harmonic in voiceone creates the same
condition as bar 3
   bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
voiceone  causes
  notes in voicethree to change to black harmonics

http://www.gooeytar.com/projects/test/test.pdf

Obviously, voiceone is messing with the "new voice" in voice three.

What is the correct way to do this in LilyPond??

 thanx - steve




\version "2.18.2"

H = \once \override Staff.NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
\clef "G_8"
\time 4/4
\key g \major
b4 b2 r4 |
b4 b4 r r |
b4 b b b |
b4 b b\harmonic b |
b4 b \H b b |
}

voicetwo = \relative c {
\set harmonicDots = ##t
e'8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
}

voicethree = \relative c' {
<<
\new Voice  % needed or voiceone and three are fused
{
 s4 g4^~ g2 | s4 g4^~ g2 |
 s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
   %\\
\new Voice
{
 \stemDown
 g4\rest g4 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0  % to prove it works
here
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0   %  doesn't work 
here
 fis2 |
 g4\rest g4 fis2 |
 g4\rest g4 fis2 |
}
>>
}

voicefour = \relative c {
c1 | c1 | c1 | c1 | c1
}

 guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }



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Re: Notes in voiceone corrupt voicethree after voice splitting?

[steve]

  Your attached code still has the note heads in voiceThree and voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne

  -steve


> Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:
>>Howdy!
>>
>>   I have reduced a multivoice structure that is part of a
>> composition to a simple five bar example of voice splitting.
>> I need 4 voices, and then I need one voice to split.
>>
>>  Each bar shows a different behaviour depending on the first
>> voice
>>
>> bar 1 -   seems ok
>> bar 2 -  seems ok and NoteColumn.force-hshift   works in
>> voicethree
>> bar 3 -  a quarter note on beat 3 in voiceone causes a collision
>> in
>> voicethree and NoteColumn.force-hshift doesn't work
>>
>> bar 4 - a simple white harmonic in voiceone creates the same
>> condition as bar 3
>> bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
>> voiceone  causes
>>notes in voicethree to change to black harmonics
>>
>> http://www.gooeytar.com/projects/test/test.pdf
>>
>>  Obviously, voiceone is messing with the "new voice" in voice
>> three.
>>
>>  What is the correct way to do this in LilyPond??
> Well, indeed that seems to be a complicated case. However, if you just
> follow the relevant NR section at
> ,
> it all works as expected (see attachment). Careful doc reading helps…
>
> HTH, Simon
>>
>>   thanx - steve
>>
>>
>>
>>
>> \version "2.18.2"
>>
>> H = \once \override Staff.NoteHead.style = #'harmonic-black
>>
>> voiceone = \relative c'' {
>>  \clef "G_8"
>>  \time 4/4
>>  \key g \major
>>  b4 b2 r4 |
>>  b4 b4 r r |
>>  b4 b b b |
>>  b4 b b\harmonic b |
>>  b4 b \H b b |
>> }
>>
>> voicetwo = \relative c {
>>  \set harmonicDots = ##t
>>  e'8\rest d2..\harmonic |
>>  e8\rest d2..\harmonic |
>>  e8\rest d2..\harmonic |
>>  e8\rest d2..\harmonic |
>>  e8\rest d2..\harmonic |
>> }
>>
>> voicethree = \relative c' {
>>  <<
>>  \new Voice  % needed or voiceone and three are fused
>>  {
>>   s4 g4^~ g2 | s4 g4^~ g2 |
>>   s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>>  }
>> %\\
>>  \new Voice
>>  {
>>   \stemDown
>>   g4\rest g4 fis2 |
>>   g4\rest g4
>>   \once \override NoteColumn.force-hshift = #2.0  % to prove it
>> works
>> here
>>   fis2 |
>>   g4\rest g4
>>   \once \override NoteColumn.force-hshift = #2.0   %  doesn't work
>> here
>>   fis2 |
>>   g4\rest g4 fis2 |
>>   g4\rest g4 fis2 |
>>  }
>>  >>
>> }
>>
>> voicefour = \relative c {
>>  c1 | c1 | c1 | c1 | c1
>> }
>>
>>   guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>>
>> #(set-global-staff-size 19)
>>
>> \score { \new Staff \guitar }
>>
>>
>>
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Re: Notes in voiceone corrupt voicethree after voice splitting?

[steve]

 Ok,

  I reduced the problem to one bar, and the black harmonics..
 Everything works except the notes are changed in voicethree and
voicesix to black harmonics.  This is the simplest reduction I can produce...


 http://gooeytar.com/projects/test/test.ly
 http://gooeytar.com/projects/test/test.pdf


\version "2.18.2"

voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)

H = \once \override Staff.NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
\clef "G_8"
\time 4/4
\key g \major
b4 b \H b b |
}

voicetwo = \relative c {
\set harmonicDots = ##t
e'8\rest d2..\harmonic |
}

voicethree = \relative c' {
 \override NoteColumn.force-hshift = #0.0
 s4 g4^~ g2 |
}

voicefour = \relative c {
c1 |
}

voicefive = \relative c {
}

voicesix = \relative c' {
  g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
}

 guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
\voicefive \\ \voicesix >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }


>>
>>   Howdy!
>>
>>  I have reduced a multivoice structure that is part of a
>> composition to a simple five bar example of voice splitting.
>> I need 4 voices, and then I need one voice to split.
>
>  I managed to improve it by adding voices, but the black harmonics
> still corrupt the other voice
>
> http://gooeytar.com/projects/test/test.ly
> http://gooeytar.com/projects/test/test.pdf
>
> voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
> voiceSix = #(context-spec-music (make-voice-props-set 4) 'Voice)
>
>and   changing voice three
>
> voicethree = \relative c' {
> <<
>   \new Voice
> {
>  \voiceFive
>\override NoteColumn.force-hshift = #0.0
>s4 g4^~ g2 | s4 g4^~ g2 |
>s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>   }
>   \\
> \new Voice
>   {
>\voiceSix
>\stemDown
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>  fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>  fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
>   }
> >>
> }
>
>
>  -steve
>
>>
>> Each bar shows a different behaviour depending on the first
>> voice
>>
>>bar 1 -   seems ok
>>bar 2 -  seems ok and NoteColumn.force-hshift   works in
>> voicethree
>>bar 3 -  a quarter note on beat 3 in voiceone causes a collision
>> in
>> voicethree and NoteColumn.force-hshift doesn't work
>>
>>bar 4 - a simple white harmonic in voiceone creates the same
>> condition as bar 3
>>bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
>> voiceone  causes
>>   notes in voicethree to change to black harmonics
>>
>> http://www.gooeytar.com/projects/test/test.pdf
>>
>> Obviously, voiceone is messing with the "new voice" in voice
>> three.
>>
>> What is the correct way to do this in LilyPond??
>>
>>  thanx - steve
>>
>>
>>
>>
>> \version "2.18.2"
>>
>> H = \once \override Staff.NoteHead.style = #'harmonic-black
>>
>> voiceone = \relative c'' {
>> \clef "G_8"
>> \time 4/4
>> \key g \major
>> b4 b2 r4 |
>> b4 b4 r r |
>> b4 b b b |
>> b4 b b\harmonic b |
>> b4 b \H b b |
>> }
>>
>> voicetwo = \relative c {
>> \set harmonicDots = ##t
>> e'8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> }
>>
>> voicethree = \relative c' {
>> <<
>>  \new Voice  % needed or voiceone and three are fused
>> {
>>   s4 g4^~ g2 | s4 g4^~ g2 |
>>   s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>>  }
>>% \\
>> \new Voice
>>  {
>>   \stemDown
>>   g4\rest g4 fis2 |
>>   g4\rest g4
>>   \once \override NoteColumn.force-hshift = #2.0  % to prove it
>> works
>> here
>>   fis2 |
>>   g4\rest g4
>>   \once \override NoteColumn.force-hshift = #2.0   %  doesn't work
>> here
>>  fis2 |
>>   g4\rest g4 fis2 |
>>   g4\rest g4 fis2 |
>>  }
>> >>
>> }
>>
>> voicefour = \relative c {
>> c1 | c1 | c1 | c1 | c1
>> }
>>
>>  guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>>
>> #(set-global-staff-size 19)
>>
>> \score { \new Staff \guitar }
>>
>>
>>
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>
>



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Re: Notes in voiceone corrupt voicethree after voice splitting?

[Simon Albrecht]

Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:

   Howdy!

  I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.

 Each bar shows a different behaviour depending on the first voice

bar 1 -   seems ok
bar 2 -  seems ok and NoteColumn.force-hshift   works in voicethree
bar 3 -  a quarter note on beat 3 in voiceone causes a collision in
voicethree and NoteColumn.force-hshift doesn't work

bar 4 - a simple white harmonic in voiceone creates the same
condition as bar 3
bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
voiceone  causes
   notes in voicethree to change to black harmonics

http://www.gooeytar.com/projects/test/test.pdf

 Obviously, voiceone is messing with the "new voice" in voice three.

 What is the correct way to do this in LilyPond??
Well, indeed that seems to be a complicated case. However, if you just 
follow the relevant NR section at 
, 
it all works as expected (see attachment). Careful doc reading helps…


HTH, Simon


  thanx - steve




\version "2.18.2"

H = \once \override Staff.NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
 \clef "G_8"
 \time 4/4
 \key g \major
 b4 b2 r4 |
 b4 b4 r r |
 b4 b b b |
 b4 b b\harmonic b |
 b4 b \H b b |
}

voicetwo = \relative c {
 \set harmonicDots = ##t
 e'8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
}

voicethree = \relative c' {
 <<
\new Voice  % needed or voiceone and three are fused
 {
 s4 g4^~ g2 | s4 g4^~ g2 |
 s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
%   \\
 \new Voice
{
 \stemDown
 g4\rest g4 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0  % to prove it works
here
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0   %  doesn't work 
here
  fis2 |
 g4\rest g4 fis2 |
 g4\rest g4 fis2 |
}
 >>
}

voicefour = \relative c {
 c1 | c1 | c1 | c1 | c1
}

  guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }



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\version "2.18.2"

H = \once \override Staff.NoteHead.style = #'harmonic-black
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)

voiceone = \relative c'' {
  \voiceOne
  \clef "G_8"
  \time 4/4
  \key g \major
  b4 b2 r4 |
  b4 b4 r r |
  b4 b b b |
  b4 b b\harmonic b |
  b4 b \H b b |
}

voicetwo = \relative c {
  c1 | c1 | c1 | c1 | c1
}

noShift = \once\override NoteColumn.force-hshift = 0
voicethree = \relative c' {
  % save typing with \repeat …
  \repeat unfold 5 { s4 \noShift g4^~ g2 | }
}

voicefour = \relative c' {
  \voiceFour
  g4\rest g4 fis2 |
  g4\rest g4
  % no more force-shifting needed
  %\once \override NoteColumn.force-hshift = #2.0  % to prove it works here
  fis2 |
  g4\rest g4
  %\once \override NoteColumn.force-hshift = #2.0   %  doesn't work here
  fis2 |
  g4\rest g4 fis2 |
  g4\rest g4 fis2 |
}

voicefive = \relative c {
  % use 5 to make stems go up, 6 to make them go down
  %\voiceFive
  \voiceSix
  \set harmonicDots = ##t
  e'8\rest d2..\harmonic |
  e8\rest d2..\harmonic |
  e8\rest d2..\harmonic |
  e8\rest d2..\harmonic |
  e8\rest d2..\harmonic |
}

guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\ \voicefive >>

#(set-global-staff-size 19)

\score {
  \new Staff \guitar
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Re: Notes in voiceone corrupt voicethree after voice splitting?

[steve]

>
>   Howdy!
>
>  I have reduced a multivoice structure that is part of a
> composition to a simple five bar example of voice splitting.
> I need 4 voices, and then I need one voice to split.

 I managed to improve it by adding voices, but the black harmonics
still corrupt the other voice

http://gooeytar.com/projects/test/test.ly
http://gooeytar.com/projects/test/test.pdf

voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 4) 'Voice)

   and   changing voice three

voicethree = \relative c' {
<<
\new Voice
{
 \voiceFive
 \override NoteColumn.force-hshift = #0.0
 s4 g4^~ g2 | s4 g4^~ g2 |
 s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
\\
\new Voice
{
 \voiceSix
 \stemDown
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
}
>>
}


 -steve

>
> Each bar shows a different behaviour depending on the first
> voice
>
>bar 1 -   seems ok
>bar 2 -  seems ok and NoteColumn.force-hshift   works in voicethree
>bar 3 -  a quarter note on beat 3 in voiceone causes a collision in
> voicethree and NoteColumn.force-hshift doesn't work
>
>bar 4 - a simple white harmonic in voiceone creates the same
> condition as bar 3
>bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
> voiceone  causes
>   notes in voicethree to change to black harmonics
>
> http://www.gooeytar.com/projects/test/test.pdf
>
> Obviously, voiceone is messing with the "new voice" in voice
> three.
>
> What is the correct way to do this in LilyPond??
>
>  thanx - steve
>
>
>
>
> \version "2.18.2"
>
> H = \once \override Staff.NoteHead.style = #'harmonic-black
>
> voiceone = \relative c'' {
> \clef "G_8"
> \time 4/4
> \key g \major
> b4 b2 r4 |
> b4 b4 r r |
> b4 b b b |
> b4 b b\harmonic b |
> b4 b \H b b |
> }
>
> voicetwo = \relative c {
> \set harmonicDots = ##t
> e'8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> }
>
> voicethree = \relative c' {
> <<
>   \new Voice  % needed or voiceone and three are fused
> {
>s4 g4^~ g2 | s4 g4^~ g2 |
>s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>   }
>%  \\
> \new Voice
>   {
>\stemDown
>g4\rest g4 fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #2.0  % to prove it works
> here
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #2.0   %  doesn't work
> here
>  fis2 |
>g4\rest g4 fis2 |
>g4\rest g4 fis2 |
>   }
> >>
> }
>
> voicefour = \relative c {
> c1 | c1 | c1 | c1 | c1
> }
>
>  guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>
> #(set-global-staff-size 19)
>
> \score { \new Staff \guitar }
>
>
>
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Re: Notes in voiceone corrupt voicethree after voice splitting?

[Simon Albrecht]

Am 24.03.2015 um 21:15 schrieb st...@linuxsuite.org:

  Ok,

   I reduced the problem to one bar, and the black harmonics..
  Everything works except the notes are changed in voicethree and
voicesix to black harmonics.
Well, basically you’re asking for it. \H is defined as an override on 
Staff level, so it will naturally affect all voices. Just delete the 
Staff. in your variable definition and that’s it.


Yours, Simon

  This is the simplest reduction I can produce...


  http://gooeytar.com/projects/test/test.ly
  http://gooeytar.com/projects/test/test.pdf


\version "2.18.2"

voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)

(here comes the mistake: use \override NoteHead etc.)

H = \once \override Staff.NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
 \clef "G_8"
 \time 4/4
 \key g \major
 b4 b \H b b |
}

voicetwo = \relative c {
 \set harmonicDots = ##t
 e'8\rest d2..\harmonic |
}

voicethree = \relative c' {
 \override NoteColumn.force-hshift = #0.0
 s4 g4^~ g2 |
}

voicefour = \relative c {
 c1 |
}

voicefive = \relative c {
}

voicesix = \relative c' {
  g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
  fis2 |
}

  guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
\voicefive \\ \voicesix >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }



   Howdy!

  I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.

  I managed to improve it by adding voices, but the black harmonics
still corrupt the other voice

 http://gooeytar.com/projects/test/test.ly
 http://gooeytar.com/projects/test/test.pdf

voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 4) 'Voice)

and   changing voice three

voicethree = \relative c' {
 <<
\new Voice
 {
  \voiceFive
 \override NoteColumn.force-hshift = #0.0
 s4 g4^~ g2 | s4 g4^~ g2 |
 s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
\\
 \new Voice
{
 \voiceSix
 \stemDown
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
  fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
  fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
}
 >>
}


  -steve


 Each bar shows a different behaviour depending on the first
voice

bar 1 -   seems ok
bar 2 -  seems ok and NoteColumn.force-hshift   works in
voicethree
bar 3 -  a quarter note on beat 3 in voiceone causes a collision
in
voicethree and NoteColumn.force-hshift doesn't work

bar 4 - a simple white harmonic in voiceone creates the same
condition as bar 3
bar 5 - use of Staff.NoteHead.style = #'harmonic-black  in
voiceone  causes
   notes in voicethree to change to black harmonics

http://www.gooeytar.com/projects/test/test.pdf

 Obviously, voiceone is messing with the "new voice" in voice
three.

 What is the correct way to do this in LilyPond??

  thanx - steve




\version "2.18.2"

H = \once \override Staff.NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
 \clef "G_8"
 \time 4/4
 \key g \major
 b4 b2 r4 |
 b4 b4 r r |
 b4 b b b |
 b4 b b\harmonic b |
 b4 b \H b b |
}

voicetwo = \relative c {
 \set harmonicDots = ##t
 e'8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
 e8\rest d2..\harmonic |
}

voicethree = \relative c' {
 <<
\new Voice  % needed or voiceone and three are fused
 {
 s4 g4^~ g2 | s4 g4^~ g2 |
 s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
%   \\
 \new Voice
{
 \stemDown
 g4\rest g4 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0  % to prove it
works
here
 fis2 |
 g4\rest g4
 \once \override NoteColumn.force-hshift = #2.0   %  doesn't work
here
  fis2 |
 g4\rest g4 fis2 |
 g4\rest g4 fis2 |
}
 >>
}

voicefour = \relative c {
 c1 | c1 | c1 | c1 | c1
}

  guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }



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Re: Notes in voiceone corrupt voicethree after voice splitting?

[Nick Payne]

On 25/03/2015 07:20, st...@linuxsuite.org wrote:

   Your attached code still has the note heads in voiceThree and voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne


Just change Staff.NoteHead to NoteHead, and it fixes the problem:

\version "2.18.2"

voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)

H = \once \override NoteHead.style = #'harmonic-black

voiceone = \relative c'' {
\clef "G_8"
\time 4/4
\key g \major
b4 b \H b b |
}

voicetwo = \relative c {
\set harmonicDots = ##t
e'8\rest d2..\harmonic |
}

voicethree = \relative c' {
 \override NoteColumn.force-hshift = #0.0
 s4 g4^~ g2 |
}

voicefour = \relative c {
c1 |
}

voicefive = \relative c {
}

voicesix = \relative c' {
  g4\rest g4
 \once \override NoteColumn.force-hshift = #1.0
 fis2 |
}

 guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
\voicefive \\ \voicesix >>

#(set-global-staff-size 19)

\score { \new Staff \guitar }

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Re: Directional NoteHead Stencil Support

[Thomas Morley]

2015-03-24 17:48 GMT+01:00 David Nalesnik :
> Harm,
>
> On Sat, Mar 21, 2015 at 3:14 PM, Thomas Morley 
> wrote:
>>
>>
>> Hi David,
>>
>> please consider to add it to our source.
>> It's a very useful developing/debugging tool!
>>
>
> Happy to oblige!
>
> https://code.google.com/p/lilypond/issues/detail?id=4328
>
> --David
>

Great.

Thanks,
  Harm

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Re: Directional NoteHead Stencil Support

[Thomas Morley]

2015-03-22 9:04 GMT+01:00 Marc Hohl :
> Hi Harm,
>
> Am 21.03.2015 um 21:02 schrieb Thomas Morley:
> [...]
>>
>> Thanks Marc and David pointing me in the correct direction.
>>
>> This is issue 3289
>> https://code.google.com/p/lilypond/issues/detail?id=3289
>>
>> Curing a regression detected in 2.17. which was introduced during 2.15.
>>
>> Though, I have never seen this commit-message before!
>> During the revue on Rietvield some more extended message was wished
>> and obviously added right before pushing - no chance for anyone to
>> look at it.
>
>
> Well, there has been quite *a lot* of mail traffic concerning the committer
> and the use of comments both within the code and for commits.
>>
>>
>> If I had seen:
>>>
>>>  Lastly, there was no reason in the code base to keep a pointer to
>>> the
>>>  arpeggio in the note column, so it is removed here.
>>
>> I would have protested strongly.
>>
>> Instead
>> http://lsr.di.unimi.it/LSR/Item?id=621
>> is partly broken.
>>
>> http://lilypondblog.org/2013/06/horizontally-aligning-full-measure-rests/
>> is partly broken.
>>
>> Also, some of my custom-functions are partly broken or never reached
>> usability because of that missing 'arpeggio-property.
>> Letting me no reasonable chance to get back the needed info.
>> For more than a year!
>
>
> I cannot judge on the technical reasons for having an 'arpeggio property
> versus some circular dependencies. If you think that this is crucial, then
> it's probably the best to raise an issue for that, otherwise this discussion
> and all your work gets lost.
>
>> Color me annoyed and frustrated.
>> Right now I have no interest in fixing the above.
>> I'll let that to someone else, maybe the committer.
>
>
> One more reason to raise an issue on the tracker.
>
> Please keep up your valuable work for LilyPond!

I didn't mean to quit work on/with LilyPond.

Though sometime you have to love her very much ...

Cheers,
  Harm

>
> Cheers,
>
> Marc
>>
>>
>>
>> -Harm
>>
>

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Problem getting syllables onto tied note across bar end

[Henry Law]

I am having a problem getting my lyrics to fit across a group of notes 
which contain a tie.  Here's the smallest possible example:


\version "2.16.2"
melody = \relative c'' {
  \clef treble
  \key a \major
  \time 4/4
  b8. b16  b16 cis8 a16~  a8. e16fis8 a16 ( a~ |
  a8 fis ) r4 r2   |
  r2  r4 r8 a16 a  |
}
text = \lyricmode {
  dada  da  a da a -- one  two three
}
\score {
  <<
\new Voice = "mel" {  \melody }
\new Lyrics \lyricsto mel \text
  >>
  \layout {
\context { \Staff \RemoveEmptyStaves }
  }
}

The way I coded it, the syllable "three" is intended to fall on the last 
A (16th) of the first bar and run over the a8 fis of the next bar.  But 
as can be seen in http://www.lawshouse.org/music/problem01.pdf the slur 
doesn't start on the last 16th but on the previous one, and the syllable 
"two" is assigned to the three A's and the F#, leaving the syllable 
"three" to match up with the 16th A's after the rests.


What am I doing wrong?

--

Henry LawManchester, England

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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Peter Bjuhr]

On 2015-03-23 18:37, SoundsFromSound wrote:

Hi all,

I also am having quite a headache installing the new Frescobaldi 2.18 and
python-ly on my friend's laptop. It's a new, clean install on Debian and I
left all install locations as their default. I am getting the same error,
saying python-ly is not found/up-to-date so Frescobaldi can't even open.

Can you please tell me how I can fix this and get the application up and
running? I tried removing all traces of Frescobaldi and then installing them
to a different location, and still the same error. I've always had success
updating Frescobaldi but 2.18 is the first time I've had such trouble. I'm
certain it's to do with the python-ly install but I can't figure out why no
matter where or how I install it, it fails.

Thank you so much for any help!


Hi Ben!

Could you describe more in detail what steps you took to install 
Python-ly and Frescobaldi?


Best
Peter

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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Colin Campbell]

On 2015-03-24 04:11 PM, Peter Bjuhr wrote:



On 2015-03-23 18:37, SoundsFromSound wrote:

Hi all,

I also am having quite a headache installing the new Frescobaldi 2.18 
and
python-ly on my friend's laptop. It's a new, clean install on Debian 
and I
left all install locations as their default. I am getting the same 
error,

saying python-ly is not found/up-to-date so Frescobaldi can't even open.

Can you please tell me how I can fix this and get the application up and
running? I tried removing all traces of Frescobaldi and then 
installing them
to a different location, and still the same error. I've always had 
success
updating Frescobaldi but 2.18 is the first time I've had such 
trouble. I'm
certain it's to do with the python-ly install but I can't figure out 
why no

matter where or how I install it, it fails.

Thank you so much for any help!


Hi Ben!

Could you describe more in detail what steps you took to install 
Python-ly and Frescobaldi?


Best
Peter

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Here is a quote from the devel list, where I had a similar sdounding 
problem:

***

On 2015-03-11 12:16 AM, Wilbert Berendsen wrote:

Op Tue, 10 Mar 2015 16:53:03 -0600
Colin Campbell  schreef:


  >>> import ly.pkginfo
Traceback (most recent call last):
File "", line 1, in 
ImportError: No module named pkginfo

Strange. There must be an old 'ly' module lying around on your system,
because pkginfo was already added quite some time ago.

Please, give me the result of:

$ python

import ly
ly.__path__
ly.__file__




Nailed it, Wilbert! It seems that I must be the first person to install 
python-ly as well as Adam Spiers' ly2video. That's a really cool utility 
which takes a .ly project, compiles to MIDI and ultimately gives an AVI 
file with the score scrolling past over the synchronised MIDI.


*
colin@Sherlock ~$ python
Python 2.7.8 (default, Oct 20 2014, 15:05:19)
[GCC 4.9.1] on linux2
Type "help", "copyright", "credits" or "license" for more information.
>>> import ly
>>> ly.__path__
*['/usr/local/lib/python2.7/dist-packages/ly2video-0.4.1-py2.7.egg/ly']*
>>> ly.__file__
*'/usr/local/lib/python2.7/dist-packages/ly2video-0.4.1-py2.7.egg/ly/__init__.pyc'* 


>>>
[1]+  Stopped python
colin@Sherlock ~$
*

Adam's .egg file exists as a .zip and inside the .zip is a folder named 
ly. I'm copying this to the -dev list because it might be wise for the 
LilyPond community to restrict the name ly for core lilypond use only. A 
major strength of LilyPond is the community of supporting and 
supplemental utilities which has grown around LP, but the risk of this 
sort of conflict will probably only grow, especially as "ly" is an 
obvious name for a folder.


@devel: The problem comes from installing python-ly for the new 2.18 
version of Frescobaldi, which makes Frescobaldi look for a folder named 
"ly" outside its own code. It uses the first one it finds on the path, 
opening the possibility that a conflicting version is found first, with 
the result that Frescobaldi errors off.


*

Cheers,
Colin

--
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hands.
You need to be able to throw something back.
-Maya Angelou, poet (1928- )

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Re: Problem getting syllables onto tied note across bar end

[tisimst]

Henry,

It's not the tie, but the slur that is causing your problem. Slurs enforce
a lyric melisma. You have two options:

1. You can either remove the slur (which I think is the right thing to do):

melody = \relative c'' {
  \clef treble
  \key a \major
  \time 4/4
  b8. b16  b16 cis8 a16~ a8. e16 fis8 a16 a~ |
  a8 fis r4 r2 |
  r2 r4 r8 a16 a |
}

2. If you must have it, you can turn the slur into a phrasing slur which
doesn't enforce a melisma like a slur does:

melody = \relative c'' {
  \clef treble
  \key a \major
  \time 4/4
  b8. b16 b16 cis8 a16~ a8. e16 fis8 a16 \( a~ |
  a8 fis \) r4 r2 |
  r2 r4 r8 a16 a |
}

Take your pick!

- Abraham

On Tue, Mar 24, 2015 at 4:08 PM, Henry Law [via Lilypond] <
ml-node+s1069038n173590...@n5.nabble.com> wrote:

> I am having a problem getting my lyrics to fit across a group of notes
> which contain a tie.  Here's the smallest possible example:
>
> \version "2.16.2"
> melody = \relative c'' {
>\clef treble
>\key a \major
>\time 4/4
>b8. b16  b16 cis8 a16~  a8. e16fis8 a16 ( a~ |
>a8 fis ) r4 r2   |
>r2  r4 r8 a16 a  |
> }
> text = \lyricmode {
>dada  da  a da a -- one  two three
> }
> \score {
><<
>  \new Voice = "mel" {  \melody }
>  \new Lyrics \lyricsto mel \text
>>>
>\layout {
>  \context { \Staff \RemoveEmptyStaves }
>}
> }
>
> The way I coded it, the syllable "three" is intended to fall on the last
> A (16th) of the first bar and run over the a8 fis of the next bar.  But
> as can be seen in http://www.lawshouse.org/music/problem01.pdf the slur
> doesn't start on the last 16th but on the previous one, and the syllable
> "two" is assigned to the three A's and the F#, leaving the syllable
> "three" to match up with the 16th A's after the rests.
>
> What am I doing wrong?
>
> --
>
> Henry LawManchester, England
>
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> below:
>
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Re: Problem getting syllables onto tied note across bar end

[tisimst]

Henry,

Sorry. I just realized that I didn't answer your question quite correctly
(though what I said is true). What you need to do is move the start of the
slur to the last a in the first measure and things should be just fine:

melody = \relative c'' {
  \clef treble
  \key a \major
  \time 4/4
  b8. b16  b16 cis8 a16~ a8. e16 fis8 a16 a~ ( |
  a8 fis ) r4 r2 |
  r2 r4 r8 a16 a |
}

Remember: Indicate the start of the slur AFTER the note you want it to
start on and AFTER the note you want it to end on.

- Abraham

On Tue, Mar 24, 2015 at 4:08 PM, Henry Law [via Lilypond] <
ml-node+s1069038n173590...@n5.nabble.com> wrote:

> I am having a problem getting my lyrics to fit across a group of notes
> which contain a tie.  Here's the smallest possible example:
>
> \version "2.16.2"
> melody = \relative c'' {
>\clef treble
>\key a \major
>\time 4/4
>b8. b16  b16 cis8 a16~  a8. e16fis8 a16 ( a~ |
>a8 fis ) r4 r2   |
>r2  r4 r8 a16 a  |
> }
> text = \lyricmode {
>dada  da  a da a -- one  two three
> }
> \score {
><<
>  \new Voice = "mel" {  \melody }
>  \new Lyrics \lyricsto mel \text
>>>
>\layout {
>  \context { \Staff \RemoveEmptyStaves }
>}
> }
>
> The way I coded it, the syllable "three" is intended to fall on the last
> A (16th) of the first bar and run over the a8 fis of the next bar.  But
> as can be seen in http://www.lawshouse.org/music/problem01.pdf the slur
> doesn't start on the last 16th but on the previous one, and the syllable
> "two" is assigned to the three A's and the F#, leaving the syllable
> "three" to match up with the 16th A's after the rests.
>
> What am I doing wrong?
>
> --
>
> Henry LawManchester, England
>
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> below:
>
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> To unsubscribe from Lilypond, click here
> 
> .
> NAML
> 
>




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Tips for a blind user

[Daniel Contreras]

Hello everyone,
I am a new member. I am also blind. I tried to show part of my composition to 
my professor today, and he said there are certain things about the layout the 
need to be addressed in order for it to look more presentable. Is there 
anything I must include by default and all of my Lily Pond scores? Maybe in the 
paper block? Thanks for any tips or suggestions.

Daniel Contreras 
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Re: Tips for a blind user

[tisimst]

Welcome to the community, Daniel!

Can you show us what your score code looks like? I think this will help us
know how we can help you better. If the code isn't too long, just put it in
the body of the email, otherwise you can attach it. Either way is just fine.

Regards,
Abraham

On Tue, Mar 24, 2015 at 4:49 PM, Daniel Contreras [via Lilypond] <
ml-node+s1069038n173595...@n5.nabble.com> wrote:

> Hello everyone,
> I am a new member. I am also blind. I tried to show part of my composition
> to my professor today, and he said there are certain things about the
> layout the need to be addressed in order for it to look more presentable.
> Is there anything I must include by default and all of my Lily Pond scores?
> Maybe in the paper block? Thanks for any tips or suggestions.
>
> Daniel Contreras
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> .
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> 
>




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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Martin Tarenskeen]

On Tue, 24 Mar 2015, Colin Campbell wrote:


Nailed it, Wilbert! It seems that I must be the first person to install 
python-ly as well as Adam Spiers' ly2video. That's a really cool utility
which takes a .ly project, compiles to MIDI and ultimately gives an AVI file 
with the score scrolling past over the synchronised MIDI.

*
colin@Sherlock ~$ python
Python 2.7.8 (default, Oct 20 2014, 15:05:19)
[GCC 4.9.1] on linux2
Type "help", "copyright", "credits" or "license" for more information.
>>> import ly
>>> ly.__path__
*['/usr/local/lib/python2.7/dist-packages/ly2video-0.4.1-py2.7.egg/ly']*
>>> ly.__file__
*'/usr/local/lib/python2.7/dist-packages/ly2video-0.4.1-py2.7.egg/ly/__init__.pyc'*
>>>
[1]+  Stopped python
colin@Sherlock ~$
*


Ouch. Any chance this will be fixed soon, either for frescobaldi or for 
ly2video? I was just planning to try the ly2video utility.


Or even better:
Wouldn't it be nice if Adam and Wilbert could work together and make 
export-to-video a nice new feature or plugin, integrated inside 
frescobaldi?


--

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Re: Disappearing barlines with skipBars - possible bug?

[Thomas Morley]

2015-03-24 17:06 GMT+01:00 Mark Knoop :
> At 15:43 on 24 Mar 2015, Kevin Barry wrote:
>>On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop  wrote:
>>
>>> { \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
>>>
>>> { \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
>>>
>>
>>At best I would consider these to be non-standard notation. At worst
>>I'd say it's incorrect. It's possible to write a note value longer
>>than a bar, but I don't think there is an accepted standard for
>>notating that, except for connecting smaller note values with ties.
>>And as I said before I have never seen it in a score (do you have any
>>examples?).
>
> I agree these are contrived examples and am not claiming them to be
> standard notation. However tuplets spanning barlines are common in
> contemporary music and that is the context where this bug appears.
>
>>> skipBars is introduced in the Learning Manual (3.4.5 Scores and
>>> parts) as a way of condensing multi-measure rests. Its only
>>> references in the Manuals are regarding this function. I suspect its
>>> impact on notes crossing barlines is either unintended or at least
>>> not thought through
>>
>>It's just used there as an example of a context property.
>
> Um, no: "When printing the part, multi-rests must be condensed. This is
> done by setting a run-time variable \set Score.skipBars = ##t"
>
> It is in Notation Reference 5.3.2 that it's used as an example of a
> context property, although still with reference to its use for
> combining multimeasure rests.
>
>>I agree that its behaviour for notes rather than rests might not be
>>thought through (but it /is/ mentioned in the IR so it may not be
>>unintended). Normally full-bar rests are condensed with
>>\compressFullBarRests (which probably just sets skipBars to #t, but I
>>didn't check).
>
> Yes, it's just a shortcut:
>
> ly/property-init.ly:156:compressFullBarRests = \set Score.skipBars = ##t
>
>>I can't imagine a situation where the current behaviour would be
>>> desirable (silently hiding a barline thus changing the length of a
>>> bar) and it would certainly seem to be a very different use case than
>>> condensing multi-measure rests.
>>
>>I think the default behaviour (without touching skipBars) is ok, and
>>agree that there's no apparent need for it to affect notes (the
>>possible scenario with long notes and short empty bars seems
>>implausible). So perhaps skipBars could be changed to only affect
>>rests, or at the very least a different context property could be used
>>as an example in the learning manual (or both).
>>
>>I verified that \compressFullBarRests does indeed affect notes as
>>well, so if you want to file a bug report then perhaps proceed on that
>>basis.
>
> cced to bug-lilypond
>
> --
> Mark Knoop
>
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I disagree.
\set Score.skipBars = ##t _is_ intended to affect notes _and_ useful!
Don't limit your thoughts to modern music.

Below I retyped (quick'n dirty) the last bar from Missa Papae
Marcelli, Sanctus by Palestrina taken from an edition which tries
transforming the original in sort of modern notation.


\version "2.19.17"

\paper {
indent = 8
line-width = 60
}

\header {
title = "Missa Papae Marcelli"
subtitle = "Sanctus, last bar"
subsubtitle =
\markup \center-column {
"modern transcription by Breitkopf & Härtel, Wiesbaden"
"retyped"
}
composer = "Palestrina"
}

lyr =
\lyricmode {
\set stanza =
  \markup \with-dimensions #'(0 . 1) #'(0 . 0)\normal-text "ex - cel -"
\skip1
sis\longa
}

sop = {
\time 2/2
\key bes \major
s1 bes'\longa
\undo \hide Staff.BarLine
}
alt = {
\key f' \major
s1 f'\longa
\undo \hide Staff.BarLine
}
tenI = {
\clef "G_8"
\key bes \major
s1 bes\longa
\undo \hide Staff.BarLine
}
tenII = {
\clef "G_8"
\key bes \major
s1 d'\longa
\undo \hide Staff.BarLine
}
bassI = {
\clef bass
\key bes \major
s1 bes,\longa
\undo \hide Staff.BarLine
}
bassII= {
\clef bass
\key bes \major
s1 f\longa
\undo \hide Staff.BarLine
\bar "|."
}

\layout {
\hide Staff.BarLine
\compressFullBarRests
}

\new StaffGroup <<
  \new Staff \new Voice = "sop" \sop
  \new Lyrics \lyr
  \new Staff \new Voice = "alt" \alt
  \new Lyrics \lyr
  \new Staff \new Voice = "tenI" \tenI
  \new Lyrics \lyr
  \new Staff \new Voice = "tenII" \tenII
  \new Lyrics \lyr
  \new Staff \new Voice = "bassI" \bassI
  \new Lyrics \lyr
  \new Staff \new Voice = "bassII" \bassII
  \new Lyrics \lyr
  >>

PNG attached.
Commenting \compressFullBarRests in \layout would return strange output.

Though I see the nuisance for other usages. Maybe it would be best to
have the possibility to turn off notes from being affected.

Cheers,
  Harm
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Re: Problem getting syllables onto tied note across bar end

[Henry Law]

On 24/03/15 22:46, tisimst wrote:

Remember: Indicate the start of the slur AFTER the note you want it to
start on and AFTER the note you want it to end on.


Aha!  I knew there was something I'd misunderstood and/or forgotten and 
that was it.  Thank you so much.


--

Henry LawManchester, England

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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[brentboylan]

+1

I hadn't heard of this utility before. Sounds intriguing. Frescobaldi is
such a great frontend/ide.



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Tuplet bracket length

[Andrew Bernard]

Some composers like to extend tuplet brackets past the end of the last note to 
the end of the metric duration. I have to set hundreds of these and have to use 
shorten-pair for each one, which is inaccurate since every one is different in 
the music I am dealing with, and tedious. Is there a way in lilypond to  tell 
the various engravers to extend the tuplet bracket as described?

Andrew



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Re: Notes in voiceone corrupt voicethree after voice splitting?

[steve]

 YES!!!

 Thank U All 4 u.

-$teev

> On 25/03/2015 07:20, st...@linuxsuite.org wrote:
>>Your attached code still has the note heads in voiceThree and
>> voiceSix
>> changed to black harmonics, when there is a black harmonic in voiceOne
>
> Just change Staff.NoteHead to NoteHead, and it fixes the problem:
>
> \version "2.18.2"
>
> voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
> voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)
>
> H = \once \override NoteHead.style = #'harmonic-black
>
> voiceone = \relative c'' {
>  \clef "G_8"
>  \time 4/4
>  \key g \major
>  b4 b \H b b |
> }
>
> voicetwo = \relative c {
>  \set harmonicDots = ##t
>  e'8\rest d2..\harmonic |
> }
>
> voicethree = \relative c' {
>   \override NoteColumn.force-hshift = #0.0
>   s4 g4^~ g2 |
> }
>
> voicefour = \relative c {
>  c1 |
> }
>
> voicefive = \relative c {
> }
>
> voicesix = \relative c' {
>g4\rest g4
>   \once \override NoteColumn.force-hshift = #1.0
>   fis2 |
> }
>
>   guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
> \voicefive \\ \voicesix >>
>
> #(set-global-staff-size 19)
>
> \score { \new Staff \guitar }
>
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Re: Tuplet bracket length

[Thomas Morley]

2015-03-25 1:34 GMT+01:00 Andrew Bernard :
> Some composers like to extend tuplet brackets past the end of the last note
> to the end of the metric duration. I have to set hundreds of these and have
> to use shorten-pair for each one, which is inaccurate since every one is
> different in the music I am dealing with, and tedious. Is there a way in
> lilypond to  tell the various engravers to extend the tuplet bracket as
> described?
>
> Andrew



\set tupletFullLength = ##t
maybe of some help.
See
http://lsr.di.unimi.it/LSR/Item?id=705
as well.

Cheers,
  Harm

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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18

[Colin Campbell]

On 2015-03-24 05:02 PM, Martin Tarenskeen wrote:

*

Ouch. Any chance this will be fixed soon, either for frescobaldi or 
for ly2video? I was just planning to try the ly2video utility.


Or even better:
Wouldn't it be nice if Adam and Wilbert could work together and make 
export-to-video a nice new feature or plugin, integrated inside 
frescobaldi?



Here is Wilbert's reply from -devel:
*

Dear Adam and Colin,

It turns out that the ly module in ly2video is an old version of the
same ly module I wrote for Frescobaldi, which now is in python-ly.

I added this as an issue in the ly2video tracker
https://github.com/aspiers/ly2video/issues/56, and I'm willing to help
changing ly2video to use the new ly module, which is actively
maintained and stable.

Best regards!
Wilbert


*

It looks as though the fix should be pretty straightforward, if indeed the OP's 
problem is caused by an outdated version of the ly module appearing on his path 
before the Frescobaldi one. In the mean time, because I don't actively use 
ly2video frequently, I just hand-edited the easy-install.pth in 
/usr/local/lib/python2.7/dist-packages/ to delete the reference to (in my case) 
ly2video.

Cheers,
Colin


--
One of the advantages of being disorderly is that one is constantly 
making exciting discoveries.

 - A. A. Milne, From the Daryl R. Gibson collection

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rest placement in multi-voice piano staff

[Flaming Hakama by Elaine]

I was wondering if anyone had a clue as to how to get the eighth rest
in voice three to be shown above the half note in voice four?


\version "2.19.15"
\include "english.ly"

pianoVoiceOne = \relative c' { 2  }
pianoVoiceTwo = \relative c' { s1 }
pianoVoiceThree = \relative c' { \stemDown r8 a fs [ d ] \stemUp b gs 4 }
pianoVoiceFour = \relative c, { \stemDown b2 e }

  <<
\new PianoStaff <<
\new Staff = "upper" <<
\new Voice = "first"  \pianoVoiceOne
\new Voice = "second" \pianoVoiceTwo
>>
\new Staff = "lower" <<
\clef bass
\new Voice = "third" \pianoVoiceThree
\new Voice = "fourth" \pianoVoiceFour
>>
>>
  >>
  \layout { }



Thanks,

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: rest placement in multi-voice piano staff

[Kieren MacMillan]

Hi David,

> I was wondering if anyone had a clue as to how to get the eighth rest in 
> voice three to be shown above the half note in voice four?

Yes: use Lilypond’s automatic voicing:

\new PianoStaff <<
\new Staff = "upper" <<
\new Voice = "first" { \voiceOne \pianoVoiceOne }
\new Voice = "second" { \voiceTwo \pianoVoiceTwo }
>>
\new Staff = "lower" <<
\clef bass
\new Voice = "third" { \voiceOne \pianoVoiceThree }
\new Voice = "fourth" { \voiceTwo \pianoVoiceFour }
>>
>>

This may also allow you to reduce or totally avoid the use of \stemUp and 
\stemDown (which are extremely rare in my scores, despite my heavy use of 
polyphony).

Hope this helps!
Kieren.
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www:  
email:  i...@kierenmacmillan.info


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Problem with lyrics in alternative endings that contain leading rests

[Peter Heisen]

Dear List,
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RE: rest placement in multi-voice piano staff

[Stephen MacNeil]

you can specify a placement for the rest by indicating a note\rest. in this
case i used g8\rest


hope that helps


stephen



\include "english.ly"


pianoVoiceOne = \relative c' { 2  }

pianoVoiceTwo = \relative c' { s1 }

pianoVoiceThree = \relative c' { \stemDown g8\rest a fs [ d ] \stemUp b gs
4 }

pianoVoiceFour = \relative c, { \stemDown b2 e }


 <<

\new PianoStaff <<

\new Staff = "upper" <<

\new Voice = "first" \pianoVoiceOne

\new Voice = "second" \pianoVoiceTwo

>>

\new Staff = "lower" <<

\clef bass

\new Voice = "third" \pianoVoiceThree

\new Voice = "fourth" \pianoVoiceFour

>>

>>

>>

\layout { }
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Re: Problem with lyrics in alternative endings that contain leading rests

[Colin Campbell]

On 2015-03-24 08:28 PM, Peter Heisen wrote:

Dear List,




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I can see that the problem seems to involve a lack of output, but 
perhaps a bit more input might clarify it a bit?


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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Problem with repeat alternative endings that contain lyrics and leading rests

[Peter Heisen]

Dear List,

The LilyPond notation reference, section 2.1.2, (
http://www.lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics)
contains the following example of how to use lyrics in concert with repeat
alternative endings.  It compiles fine in version 2.18.2, showing both the
first and second endings complete with lyrics:

\score {
  <<
\new Staff {
  \time 2/4
  \new Voice = "melody" {
\relative c'' {
  a4 a a a
  \repeat volta 2 { b4 b }
  \alternative { { b b } { b c } }
}
  }
}
\new Lyrics {
  \lyricsto "melody" {
Not re -- peat -- ed.
\repeat volta 2 { Re -- peat -- }
\alternative { { ed twice. } { ed twice. } }
  }
}
  >>
}

In the following modified example, the first beat of each ending has been
changed to a rest, and a syllable removed from the lyrics to match.  Now
when compiled, it shows two first endings and two second endings.  Moreover
the log contains the error "warning: already have a volta spanner, ending
that one prematurely". I have scoured the documentation and searched the
list archives, and cannot find any mention of this.  Can you help?

\version "2.18.2"

\score {
  <<
\new Staff {
  \time 2/4
  \new Voice = "melody" {
\relative c'' {
  a4 a a a
  \repeat volta 2 { b4 b }
  \alternative { { r b } { r c } }
}
  }
}
\new Lyrics {
  \lyricsto "melody" {
Not re -- peat -- ed.
\repeat volta 2 { Re -- peat }
\alternative { { twice. } { twice. } }
  }
}
  >>
}

Thank you,

Pete H.
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