Re: Controlling compilation

[Urs Liska]

Hi David,

I'm sure this could be made work, with some more complex Scheme code.
But If I'm understanding you correctly there seems to be a simpler way.

You seem to be ready to *do* some manual changes to your master file
(e.g. defining a variable or not). So you could simply put your
different scores in individual include files and comment in/out these
includes.
If you are creating independent scores (or score/part/whatever) you
should consider including the scores in \bookpart expressions to
guarantee a page break if you compile more than one sub-score in one go.

HTH
Urs


Am 11.04.2016 um 08:32 schrieb David Sumbler:
> When editing a piece with several instruments and several movements,
> there are various outputs I would like, such as a complete full score, a
> full score of a single movement, a complete instrumental part, the
> instrument part of a single movement, and also a midi file of any of
> these items.
>
> I thought perhaps I could control this in my top-level file by having
> the compilation instructions for these possibilities defined in
> variables in an included file, and simply defining variables (or not, if
> there is a way of checking the existence of a variable) in the top level
> file.
>
> As an experiment, I produced this:
>
> File: experimentNotes.ly
>
> \version "2.19.24" 
>
> compileA =
> \score {
>   \new Staff {
>a' a' a' a'
>   }
>   \layout { }
> }
>
> compileB =
> \score {
>   \new Staff {
> b' b' b' b'
>   }
>   \layout { }
> }
>
>
>
> File: experiment.ly
>
> \version "2.19.24" 
>
> \include "experimentNotes.ly"
>
> sectionA = ##t
>
>
> #(if sectionA #{ \compileA #} )
>
> \compileB
>
>
>
> When I compile experiment.ly, the "B" section compiles and no errors or
> warnings are produced, but section "A" is ignored.
>
> Can this be modified to make it work?
>
> David
>
>
>
>
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Re: Controlling compilation

[Jan-Peter Voigt]

Hi David,

compileA is not compiled, because it is just a music-expression inside a 
scheme-expression.
But if you add it to the current book, it will appear. So your example 
will work with a tiny extension:


#(if sectionA (add-score #{ \compileA #} ))

But you should look around for templating mechanics.

HTH
Jan-Peter

Am 11.04.2016 um 08:32 schrieb David Sumbler:

When editing a piece with several instruments and several movements,
there are various outputs I would like, such as a complete full score, a
full score of a single movement, a complete instrumental part, the
instrument part of a single movement, and also a midi file of any of
these items.

I thought perhaps I could control this in my top-level file by having
the compilation instructions for these possibilities defined in
variables in an included file, and simply defining variables (or not, if
there is a way of checking the existence of a variable) in the top level
file.

As an experiment, I produced this:

File: experimentNotes.ly

\version "2.19.24"

compileA =
\score {
   \new Staff {
a' a' a' a'
   }
   \layout { }
}

compileB =
\score {
   \new Staff {
 b' b' b' b'
   }
   \layout { }
}



File: experiment.ly

\version "2.19.24"

\include "experimentNotes.ly"

sectionA = ##t


#(if sectionA #{ \compileA #} )

\compileB



When I compile experiment.ly, the "B" section compiles and no errors or
warnings are produced, but section "A" is ignored.

Can this be modified to make it work?

David




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Re: Parallel music, adding a voice, stem not appearing

[David Kastrup]

Stanton Sanderson  writes:

> Here is another (perhaps less elegant) solution:
>
> rh = \relative c'' {
>   <<
> \voiceOne
> {
>   c2.~ | \stemDown \shiftOnn  c
> }
> \\
> \new Voice {
>   \voiceTwo
>   s2. | \shiftOnn af2 s4
> }
> \\
> \new Voice {
>   \voiceFour
>   4 af g~ | g f ef |
> }
>   >>
> }

The usual voice orders from top to bottom are
1 3 5 6 4 2

namely starting with the outer voices and progressing inwards.  That
makes \\ become increasingly awkward as you go beyond two voices.

It would have been saner to let \\ follow that convention, but changing
that now would make all heck break loose.

-- 
David Kastrup

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Re: Controlling compilation

[David Kastrup]

David Sumbler  writes:

> As an experiment, I produced this:
>
> File: experimentNotes.ly
>
> \version "2.19.24" 
>
> compileA =
> \score {
>   \new Staff {
>a' a' a' a'
>   }
>   \layout { }
> }

[...]

> #(if sectionA #{ \compileA #} )

#... at top level is executed and the result ignored to allow for
#(set! ...) and similar expressions with usually unspecified return
#codes.  Just try

$(if sectionA compileA)

instead.

-- 
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Re: Transpose down a perfect fifth

[David Kastrup]

Ryan Michael  writes:

> Sorry all . I was doing \transpose but on something demarcated as \relative
> c'{}
>
> Which meant it was an octave higher after transposition

\transpose works fine on the result of \relative.  More likely than not
you are not using \transpose on the result of \relative but rather
\relative on the result of \transpose.  Which would be a bad idea.

-- 
David Kastrup

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Re: Parallel music, adding a voice, stem not appearing

[Stanton Sanderson]

> On Apr 11, 2016, at 2:23 AM, David Kastrup  wrote:
> 
> Stanton Sanderson mailto:stans...@gmail.com>> writes:
> 
>> Here is another (perhaps less elegant) solution:
>> 
>> rh = \relative c'' {
>>  <<
>>\voiceOne
>>{
>>  c2.~ | \stemDown \shiftOnn  c
>>}
>>\\
>>\new Voice {
>>  \voiceTwo
>>  s2. | \shiftOnn af2 s4
>>}
>>\\
>>\new Voice {
>>  \voiceFour
>>  4 af g~ | g f ef |
>>}
 
>> }
> 
> The usual voice orders from top to bottom are
> 1 3 5 6 4 2
> 
> namely starting with the outer voices and progressing inwards.  That
> makes \\ become increasingly awkward as you go beyond two voices.
> 
> It would have been saner to let \\ follow that convention, but changing
> that now would make all heck break loose.
> 
> -- 
> David Kastrup

David and Andrew-

Thank you for the reminders. Usually my coding barely scratches the surface of 
Lilypond’s capabilities, so the fact that the result appeared correct was my 
motivation for submitting the “solution.” I realize that unorthodox coding 
could produce unexpected results with future versions of Lilypond. 

Again, thank you for your comments. There is much to learn!

Stan

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Font Problems

[Daniel Fütterer]

Hello,

I want to use alternative fonts for my documents, but I have problems including 
them. I’m using 2.18.2 with the patch for alternative music fonts (which all 
work fine).

I tried the following snippets within the \paper-variable:

#(define fonts
(set-global-fonts
#:music "scorlatti"
#:roman "libertine“
#:sans "biolinum“
#:factor (/ staff-height pt 20)
)
)

and:

#(define fonts
(make-pango-font-tree
"libertine“
"biolinum“
"libertine mono“
(/ staff-height pt 20)
)
)

I tried some different fonts, including Charter (worked) and Alegerya Sans 
(didn’t work). So I believe it’s the name I have to use, but I can’t figure out 
how to get that. The fonts are all installed on my system (MacBook, El Capitan) 
as (lots of) otf files.


Thank you for your help,
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Re: Font Problems

[Andrew Bernard]

Hi Daniel,

it just so happens I also use Linux Biolinum and Linux Libertine with lilypond.

The names need to be right, as you said.

To see all fonts you can use:

$ lilypond -dshow-available-fonts

In your case:

#:roman "Linux Libertine O"
#:sans "Linux Biolinum O"

Exactly what I use. Quite nice typefaces, heavily based on the classic Optima.

Andrew


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Recruiting Help for Sheet Music Website

[GreyBubbleGum]

Hey guys. I was wondering if any programmer here or those who think they 
can help would be interested in working with me.

I just use up about 10k to to create this site aerlnodus.com for us music 
lover especially those that uses music notation software. I was low on 
budget so it isn't perfect. I will be launching it into open beta soon, 
after I add in a monthly subscription payment (for no ads). 

The major flaw with most other sheet music I saw were where information 
architecture problem so I thought I do it myself and fix most of it. The 
one major thing I fix was that most other site get repeated results such 
as listing the song and artist multiple time again upon search, like 
youtube if you search a song.

This time instead, I use the list of songs as a navigation search which 
changes a lot of thing, and make the results much more cleaner.

me: https://www.linkedin.com/in/grey-gum-0a5ba388 (I'm a ux/marketing guy)

Would love to bring on board a, frontend programmer, and backend 
programmer (or some other skills you think can contribute.

I want to use the money to help donate to lilypond.

Kind Regard


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Re: Font Problems

[Alexander Kobel]

On 2016-04-11 13:37, Daniel Fütterer wrote:

Hello,

I want to use alternative fonts for my documents, but I have problems
including them. I’m using 2.18.2 with the patch for alternative music
fonts (which all work fine).  [...]

I tried some different fonts, including Charter (worked) and Alegerya
Sans (didn’t work). So I believe it’s the name I have to use, but I
can’t figure out how to get that. The fonts are all installed on my
system (MacBook, El Capitan) as (lots of) otf files.


Hi Daniel,

for Alegreya (Sans), note that you swapped the letters e and r. Then it 
should work. Those values are not case-sensitive, AFAICS, but quite 
unforgiving for everything else... Best is to copy-paste from the output 
of `lilypond -dshow-available-fonts` or `fc-list`, as Andrew already noted.
If, however, the font does not show up in that list, you need to refresh 
the font cache; on Linux, this is done via `fc-cache`, IIRC, on OSX the 
same command should work.



Cheers,
Alexander

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Re: Font Problems

[Daniel Fütterer]

Hi Andrew,

thank you for your quick answer! I tried countless writings of the fonts, but 
none did work.

The solution was that fontconfig did’t search in the User-Fonts I stored in 
/Users/[Name]/Library/Fonts. I added the search part and everything worked 
fine. Seems to me that the relative path in fontconfig doesn’t work properly:

/usr/share/fonts
/Library/Fonts
/System/Library/Fonts
~/.fonts

An yes, that are really nice fonts since they are very noble :-)

Daniel


> Am 11.04.2016 um 14:21 schrieb Andrew Bernard :
> 
> Hi Daniel,
> 
> it just so happens I also use Linux Biolinum and Linux Libertine with 
> lilypond.
> 
> The names need to be right, as you said.
> 
> To see all fonts you can use:
> 
>> $ lilypond -dshow-available-fonts
> 
> In your case:
> 
>> #:roman "Linux Libertine O"
>> #:sans "Linux Biolinum O"
> 
> 
> Exactly what I use. Quite nice typefaces, heavily based on the classic Optima.
> 
> Andrew
> 

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RE: Parallel music, adding a voice, stem not appearing

[Joseph N. Srednicki]

Hello:

 

Thank you to Stanton Sanderson, David Kastrup, and Andrew Bernard for offering 
solutions.

 

I never did figure out the solution to the original issue of the stem not 
appearing, but I have some solutions.

 

If someone wants to get experience with using voices, shifting, and aligning 
them, engraving one of Mendelssohn’s organ sonatas in a great teaching 
exercise. I have encountered and learned to resolve so many issues.

 

Joe Srednicki

 

From: Stanton Sanderson [mailto:stans...@gmail.com] 
Sent: Monday, April 11, 2016 7:26 AM
To: David Kastrup 
Cc: Joseph N. Srednicki ; LilyPond Users 

Subject: Re: Parallel music, adding a voice, stem not appearing

 

 

On Apr 11, 2016, at 2:23 AM, David Kastrup mailto:d...@gnu.org> 
> wrote:

 

Stanton Sanderson <  stans...@gmail.com> writes:




Here is another (perhaps less elegant) solution:

rh = \relative c'' {
 <<
   \voiceOne
   {
 c2.~ | \stemDown \shiftOnn  c
   }
   \\
   \new Voice {
 \voiceTwo
 s2. | \shiftOnn af2 s4
   }
   \\
   \new Voice {
 \voiceFour
 4 af g~ | g f ef |
   }



 

}


The usual voice orders from top to bottom are
1 3 5 6 4 2

namely starting with the outer voices and progressing inwards.  That
makes \\ become increasingly awkward as you go beyond two voices.

It would have been saner to let \\ follow that convention, but changing
that now would make all heck break loose.

-- 
David Kastrup

 

David and Andrew-

 

Thank you for the reminders. Usually my coding barely scratches the surface of 
Lilypond’s capabilities, so the fact that the result appeared correct was my 
motivation for submitting the “solution.” I realize that unorthodox coding 
could produce unexpected results with future versions of Lilypond. 

 

Again, thank you for your comments. There is much to learn!

 

Stan

 

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Re: Recruiting Help for Sheet Music Website

[David Kastrup]

GreyBubbleGum  writes:

> Hey guys. I was wondering if any programmer here or those who think they 
> can help would be interested in working with me.
>
> I just use up about 10k to to create this site aerlnodus.com for us music 
> lover especially those that uses music notation software. I was low on 
> budget so it isn't perfect. I will be launching it into open beta soon, 
> after I add in a monthly subscription payment (for no ads).

You know mutopiaproject.org and imslp.org and cpdl.org ?

> The major flaw with most other sheet music I saw were where
> information architecture problem so I thought I do it myself and fix
> most of it.

Restarting from scratch rather than joining existing efforts is always
problematic.  As your size grows, you'll probably face the same sort of
scaling problems that you perceive with existing projects, as well as
others.

-- 
David Kastrup

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Re: Copyright on first page, footer on following

[Carl-Henrik Buschmann]

It worked wonders! Thank you.


> 10. apr. 2016 kl. 20.04 skrev Thomas Morley :
> 
> 2016-04-10 19:35 GMT+02:00 Carl-Henrik Buschmann :
>> Aha! Get it. Thank you for the explanation.
>> 
>> But it leaves me none the wiser on how to do it, it being one footer one the
>> first page and a second for the rest?
> 
> 
> 
> Try:
> 
> \header {
>  copyright = \markup {
>  \center-column {
>\vspace #2
>"Copyright © OBLIGATO musikkforlag 2016 – Nesna, Norge"
>"All rights reserved – ISMN 979-0-706668-13-0 – order nr. OM8130"
>  }
>}
>  ISMN = \markup {
>   \fill-line {
> "ISMN 979-0-706668-13-0"
>   }
>  }
> 
>  tagline = ##f
> }
> 
> \paper {
>  oddFooterMarkup = \markup {
>\column {
>  \fill-line {
>%% Copyright header field only on first page in each bookpart.
>\on-the-fly #part-first-page \fromproperty #'header:copyright
>  }
>  \fill-line {
>%% Copyright header field only on first page in each bookpart.
>\on-the-fly #not-first-page \fromproperty #'header:ISMN
>  }
>}
>  }
> }
> 
> {
>  c1
>  \pageBreak
>  c1
> }
> 
> More info in NR:
> http://lilypond.org/doc/v2.19/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-headers-and-footers
> and in the source-file
> titling-init.ly
> 
> HTH,
>  Harm


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Re: Transpose down a perfect fifth

[Ryan Michael]

Why is that a bad idea?

On Monday, April 11, 2016, David Kastrup  wrote:

> Ryan Michael > writes:
>
> > Sorry all . I was doing \transpose but on something demarcated as
> \relative
> > c'{}
> >
> > Which meant it was an octave higher after transposition
>
> \transpose works fine on the result of \relative.  More likely than not
> you are not using \transpose on the result of \relative but rather
> \relative on the result of \transpose.  Which would be a bad idea.
>
> --
> David Kastrup
>


-- 
ॐ नमः शिवाय
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Re: Transpose down a perfect fifth

[David Kastrup]

Ryan Michael  writes:

>> On Monday, April 11, 2016, David Kastrup  wrote:
>>
>>> Ryan Michael > writes:
>>>
>>> > Sorry all . I was doing \transpose but on something demarcated as 
>>> > \relative
>>> > c'{}
>>> >
>>> > Which meant it was an octave higher after transposition
>>>
>>> \transpose works fine on the result of \relative.  More likely than not
>>> you are not using \transpose on the result of \relative but rather
>>> \relative on the result of \transpose.  Which would be a bad idea.
>
> Why is that a bad idea?

\transpose delivers absolute music, \relative does not have an effect on
that.

I think that the manual mentions this.

-- 
David Kastrup

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Re: lilyjazz fonts on Mac / Win

[Christoph Friedrich]

Good morning

hm, now it works. Inspired by Daniel Fütterers post about font problems, i 
manually moved all fonts (including lilyjazz-text.otf and lilyjazz-chord.otf) 
from /Users/… / Library/Fonts to /Library/Fonts. In the fontbook.app 
preferences, the standard location for font installation was set to „computer“ 
before)
Thanks to all who helped
Christoph


> Am 09.04.2016 um 01:03 schrieb Christoph Friedrich 
> :
> 
> Hello Abraham and Stan
> 
> thanks for your replies. I cleared the font cache as it was proposed by 
> Abraham (howto 
> ), and 
> i also made use of the options that are given in the font book.app (looking 
> for duplicate fonts, removing non-standard system fonts etc)
> It did not help yet. I also had a look to the Finale forum as it was 
> proposed, and it seems there are really some major font problems in the 
> current mac OS. Then I noticed that i have about 240 fonts in my font library 
> (where do they all come from?) and there were another 200 moved automatically 
> to the folder called „fonts_removed“ by the fontbook.app. So for sure i will 
> have to check if i really need all these fonts (I already know don’t) and 
> reduce their number. 
> 
> Stan pointed out that the lilyJAZZfonts in his system do have a slightly 
> different name. As far as i remember, there was a suggestion here once to 
> rename them from LilyJAZZ* ( version prior to lilypond 2.18.2, by Thorsten 
> Hämmerle) to lilyjazz* (2.18.2 and later, by Abraham). I remember the older 
> version was also installed in my computer once. So this might be a hint where 
> the problem might come from.
> If i gonna find a solution, i’ll post it here. Meanwhile i’ll switch to 
> another computer..
> 
> Thanks again
> Christoph
> 
> 
>> Am 07.04.2016 um 13:19 schrieb Stanton Sanderson > >:
>> 
>> On my Mac with the same OS X (10.11.4) and version of Lilypond, Christoph’s 
>> code produces the expected results.
>> 
>> One difference in installation is is that the .chord and .text font files 
>> are installed in the Lilypond app, in the same font directories mentioned. 
>> Mine are named LilyJAZZChord.otf and LilyJAZZText.otf, however. If I recall, 
>> that was the way they were named when they were first introduced. 
>> 
>> Stan
>> All the lilyjazz-11.otf, etc. files are also in that directory. 
>>> On Apr 6, 2016, at 11:08 PM, Abraham Lee >> > wrote:
>>> 
>>> Christoph,
>>> 
>>> I don't own a Mac, nor do I have access to one, so I'm not the most 
>>> qualified to answer this question. What you've described is exactly how you 
>>> should do it. However, I have noticed that users of Finale have had similar 
>>> issues on a Mac, so I think it's not specific to LilyPond. The issues could 
>>> be totally unrelated, but you never know. 
>>> 
>>> What they seem to do that alleviates the problem is clearing out the font 
>>> cache (sorry, I'm not sure how to do that). Font Book may have some tools 
>>> to help you out, too. I'd go to the Finale forum (forum.makemusic.com 
>>> ) and look through the topics on the Macintosh 
>>> user subforum. There have been plenty lately on this topic. 
>>> 
>>> Best,
>>> Abraham
>>> 
>>> On Wednesday, April 6, 2016, Christoph Friedrich 
>>> mailto:m...@christoph-friedrich.org>> wrote:
>>> Hello
>>> 
>>> i am still trying to find out why the lilyjazz fonts do not work properly 
>>> on my computer (mac os x) and i hope to get some advice here…
>>> The fonts "lilyjazz-text" and "lilyjazz-chords“ were installed in the 
>>> system font location, the ones named lilyjazz-11.otf etc were copied to 
>>> 
>>> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf
>>> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/svg
>>> 
>>> It says everything ok, but on the mac text and chords appear in a standard 
>>> system font.
>>> 
>>> I did the same on a windows system, and the result seems to be as expected. 
>>> (please see examples below)
>>> Could this be a bug?
>>> 
>>> Thanks for any advice.
>>> Christoph
>>> 
>>> example code
>>> -
>>> \version "2.19.39"
>>> \include "lilyjazz.ily"
>>> 
>>> \header{
>>> title = "Test"
>>> composer = "Mac OSX 10.11.4"
>>> piece = "Latin"
>>> }
>>> 
>>> melody = \new Staff {
>>>   \set Staff.instrumentName = #"Piano"
>>> \time 6/8
>>> \tempo  8 = 120
>>> \clef treble
>>> \key ees \major
>>> \relative  {
>>>   c8 d e f g a b c d e f g d e f g a b
>>>}
>>> }
>>> 
>>> harmonies = \chordmode { \set majorSevenSymbol = \markup { maj7 }
>>> ees1:7 fis:maj7
>>>  }
>>> 
>>> \score{
>>> <<
>>> \new ChordNames {\set chordChanges = ##t \harmonies}
>>> \melody
>>> >>
>>> }
>>> 
>>> 
>>> 
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