Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Hey,

As I'm recently starting to type more and more in Lily and browsing some
scores on Mutopia Project to see how others are doing it, I wonder how you
- proffessionals - are approaching it? Does it depends on the type of the
score?

I started to like \pararellmusic, because you can go one measure at a time,
instead of of putting bunch of voices and going back and forth. On the
other hand, it seems like it's limited and you have to restate your note
lengths every time, also some nested slurs can be a problem sometimes. But
it seems like the most clean approach for typesetting something like
baroque sonata for the piano..

I did the same with the score where right hand had only once voice most of
the time, still I'm yet to see someone else using it - seems like many
people just use /new Voice and write them separately.

Last thing - I saw some putting barchecks in the beginning of the line
(including the very first bar). Are you doing it like that too? Maybe
someone could share a snippet from some good quality and complex piano
score? Honestly, almost every score I saw on Mutopia Project unfortunately
doesn't look too great, but maybe I'm tripping. Anyway, I'd like to see how
people with deadlines and efficient workflow are managing this - assuming
this is even a thing with LilyPond...

Thanks in advance guys.


Pozdrawiam,
Krzysztof Gutowski
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Andrew Bernard]

Hello Krzysztof,

I am sure how each person uses lilypond is a very personal thing, since it
is so flexible. I engrave quite deeply complex New Complexity School
keyboard music in the main, as a serious professional undertaking. I simply
use multiple voices for treble and bass staves, sometimes up to six or
seven per staff, and also sometimes breaking out into three or four staves
per system for clarity. Using Frescobaldi makes all this terribly easy and
I have therefore never stopped to think about it. For my work, I colourise
each voice with a different colour so my brain can untangle the complex
braids of the music. I just turn this off when ready to publish. I find
that helps greatly.

Andrew
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Federico Bruni]

Il giorno mar 21 feb 2017 alle 10:40, kmg 
 ha scritto:
I started to like \pararellmusic, because you can go one measure at a 
time, instead of of putting bunch of voices and going back and forth. 
On the other hand, it seems like it's limited and you have to restate 
your note lengths every time, also some nested slurs can be a problem 
sometimes. But it seems like the most clean approach for typesetting 
something like baroque sonata for the piano..




Frescobaldi allows to split the editor pane vertically, so you can work 
on multiple voices (each in a different variable) without having to 
scroll up and down. This is what I use to do on 2 voices guitar pieces 
(what I usually typeset).




Last thing - I saw some putting barchecks in the beginning of the 
line (including the very first bar). Are you doing it like that too?


No, I don't.
In general I use one line per measure; each measure ends with a 
barcheck.

If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
If the measure contains tweaks or overrides, I nest them using two 
spaces. Even though using Frescobaldi format tool makes this nesting 
disappear; so you have to be careful (and use version control like 
git). See these two discussions:

https://github.com/wbsoft/frescobaldi/issues/573
https://github.com/wbsoft/frescobaldi/issues/437




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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Urs Liska]

Am 21.02.2017 um 10:40 schrieb kmg:
> Hey,
>
> As I'm recently starting to type more and more in Lily and browsing
> some scores on Mutopia Project to see how others are doing it, I
> wonder how you - proffessionals - are approaching it? Does it depends
> on the type of the score?

Surely. On the type and the complexity. And sometimes also on the nature
of your project (for example if you're "just" entering a score or if you
have a project with many scores).

>
> I started to like \pararellmusic, because you can go one measure at a
> time, instead of of putting bunch of voices and going back and forth.
> On the other hand, it seems like it's limited and you have to restate
> your note lengths every time, also some nested slurs can be a problem
> sometimes. But it seems like the most clean approach for typesetting
> something like baroque sonata for the piano..

It may seem so, and I don't want to talk you out of this, but I have
found LilyPond's general approach of having continuous layers (aka
"voices") instead of measure based boxes like many other tools (like
notation programs or file formats like MusicXML) liberating.

As Federico pointed out you can split the editor in Frescobaldi to
achieve a similar effect as with parallelmusic. And above all,
point-and-click makes it so easy to hop around in the input file that I
don't see it as an issue at all that the music input is laid out in
different places.

In addition, it is often a good idea separate things out in individual
files (e.g. one for each staff or even one for each voice).

>
> I did the same with the score where right hand had only once voice
> most of the time, still I'm yet to see someone else using it - seems
> like many people just use /new Voice and write them separately.
>
> Last thing - I saw some putting barchecks in the beginning of the line
> (including the very first bar). Are you doing it like that too? Maybe
> someone could share a snippet from some good quality and complex piano
> score? Honestly, almost every score I saw on Mutopia Project
> unfortunately doesn't look too great, but maybe I'm tripping. Anyway,
> I'd like to see how people with deadlines and efficient workflow are
> managing this - assuming this is even a thing with LilyPond...

With barchecks there are two somewhat mandatory recommendations,
everything else is up to personal style or agreement (if you're working
in a team):
1) Please do use them (always)
2) use them consistently.

Whether you put them at the end of the line or at the beginning doesn't
really matter.
The end of the line is somewhat "natural", as it ends the previous measure
At the beginning of the line gives a more consistent "look", because it
is always in the same place.

An alternative I use regularly is to put them on an empty line, together
with a barnumber comment, like so:

  c4 c c c

  | % 41
  d4 d d d

This makes the input file vertically "longer", but usually that doesn't
matter. The advantage is that it makes it very clear visually what
happens, and (if you use that) it gives very good commits to a version
control system such as Git.

The sample includes another recommendation: Specify the duration at the
beginning of each line, even if it's not technically necessary. This
makes it more obvious on first sight, and it helps avoid errors if you
should change anything later.

HTH
Urs

>
> Thanks in advance guys.
>
>
> Pozdrawiam,
> Krzysztof Gutowski
>
>
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Thanks! Actually somehow I never used screen splitting.. now trying it out,
and it means you have basically \parallelmusic without drawbacks, that's
really cool. Also with folding Frescobaldi provides, you can hide stuff you
already completed. I guess you can even split to 4 when working on 4 voices
and then use another Frescobaldi window just to see preview of the score.
I'll try that approach next time.

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 11:18 GMT+01:00 Federico Bruni :

> Il giorno mar 21 feb 2017 alle 10:40, kmg 
> ha scritto:
>
>> I started to like \pararellmusic, because you can go one measure at a
>> time, instead of of putting bunch of voices and going back and forth. On
>> the other hand, it seems like it's limited and you have to restate your
>> note lengths every time, also some nested slurs can be a problem sometimes.
>> But it seems like the most clean approach for typesetting something like
>> baroque sonata for the piano..
>>
>>
> Frescobaldi allows to split the editor pane vertically, so you can work on
> multiple voices (each in a different variable) without having to scroll up
> and down. This is what I use to do on 2 voices guitar pieces (what I
> usually typeset).
>
>
>> Last thing - I saw some putting barchecks in the beginning of the line
>> (including the very first bar). Are you doing it like that too?
>>
>
> No, I don't.
> In general I use one line per measure; each measure ends with a barcheck.
> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
> If the measure contains tweaks or overrides, I nest them using two spaces.
> Even though using Frescobaldi format tool makes this nesting disappear; so
> you have to be careful (and use version control like git). See these two
> discussions:
> https://github.com/wbsoft/frescobaldi/issues/573
> https://github.com/wbsoft/frescobaldi/issues/437
>
>
>
>
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ancient custom time signature

[karl]

I have a piece with the following time sigs:
 alla breve
 timesig.mensural34 followed by a 3.
 alla breve

How do I typeset the timesig.mensural34 followed by a 3 where
it should be ?

///

I try to typeset [1], on page 6 (101 in the original), there is this
mensuration (time sig.):
 "tempus perfectum dimunitio et proportio tripla"
i.e. a timesig.mensural34 followed by a 3.

With the help of [2], I have made:

#(define ((proportioD glyph a b) grob)
   (grob-interpret-markup grob
  (markup #:override '(baseline-skip . 2.5) #:number
  (#:line ((markup (#:fontsize 4 #:musicglyph glyph))
   (#:fontsize -1 #:column (a b)))

#(define ((proportioS glyph a) grob)
  (grob-interpret-markup grob
   (markup #:override '(baseline-skip . 2.5) #:number
(#:line ((markup (#:fontsize 1 #:musicglyph glyph)) #:vcenter (#:fontsize 
-1 a)) 

///

With
  \override Score.TimeSignature.stencil = #(proportioS  "timesig.mensural34" 
"3")
I basically get what I want, but there are two problems:

1, the timesig is 25% bigger with this function

2, the timesig doesn't appear where I want it, it happens at the "next" 
   time sig change (where there should be an alla breve instead),
   not at "this" (\once doesn't help).

My code is at [3], the current result is at [4].

Any help would be appreciated.

Regards,
/Karl Hammar

[1] http://turkos.aspodata.se/choir/ensemble/palestrina.stabat.mater.pdf
[2] http://lsr.di.unimi.it/LSR/Item?id=725
[3] http://turkos.aspodata.se/git/musik/Pierluigi_da_Palestrina/motetten_a8/
[4] http://turkos.aspodata.se/choir/ensemble/Stabat_Mater_a8.pdf

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Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Also, thanks Urs! For some reason I saw your response only when checking
out the lists directly, it was not in my mailbox. Honestly I also like the
idea of one voice at a time better, and Frescobaldi helps with seeing it
consistently (as you guys pointed out). Before I saw only "|" at the
beginning in some files, but your "| % bar " is so cool, I'll definitely
try to use that (as the lines are sometimes so long you can't really find
that mark easily). Specifying durations every time is something I'll try
out too, kinda got used to it by using parallel input anyway. Thanks again.

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 12:19 GMT+01:00 kmg :

> Thanks! Actually somehow I never used screen splitting.. now trying it
> out, and it means you have basically \parallelmusic without drawbacks,
> that's really cool. Also with folding Frescobaldi provides, you can hide
> stuff you already completed. I guess you can even split to 4 when working
> on 4 voices and then use another Frescobaldi window just to see preview of
> the score. I'll try that approach next time.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 11:18 GMT+01:00 Federico Bruni :
>
>> Il giorno mar 21 feb 2017 alle 10:40, kmg 
>> ha scritto:
>>
>>> I started to like \pararellmusic, because you can go one measure at a
>>> time, instead of of putting bunch of voices and going back and forth. On
>>> the other hand, it seems like it's limited and you have to restate your
>>> note lengths every time, also some nested slurs can be a problem sometimes.
>>> But it seems like the most clean approach for typesetting something like
>>> baroque sonata for the piano..
>>>
>>>
>> Frescobaldi allows to split the editor pane vertically, so you can work
>> on multiple voices (each in a different variable) without having to scroll
>> up and down. This is what I use to do on 2 voices guitar pieces (what I
>> usually typeset).
>>
>>
>>> Last thing - I saw some putting barchecks in the beginning of the line
>>> (including the very first bar). Are you doing it like that too?
>>>
>>
>> No, I don't.
>> In general I use one line per measure; each measure ends with a barcheck.
>> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
>> If the measure contains tweaks or overrides, I nest them using two
>> spaces. Even though using Frescobaldi format tool makes this nesting
>> disappear; so you have to be careful (and use version control like git).
>> See these two discussions:
>> https://github.com/wbsoft/frescobaldi/issues/573
>> https://github.com/wbsoft/frescobaldi/issues/437
>>
>>
>>
>>
>
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Urs Liska]

Am 21.02.2017 um 12:29 schrieb kmg:
> Also, thanks Urs! For some reason I saw your response only when
> checking out the lists directly, it was not in my mailbox. Honestly I
> also like the idea of one voice at a time better, and Frescobaldi
> helps with seeing it consistently (as you guys pointed out). Before I
> saw only "|" at the beginning in some files, but your "| % bar " is so
> cool, I'll definitely try to use that (as the lines are sometimes so
> long you can't really find that mark easily).

You may have a look at this file:
https://git.openlilylib.org/bfsc/kayser/blob/master/works/masses/six/kyrie/corno-one.ily

Here it is clearly not necessary to sort out complex input, but I still
think it makes the file very clean as a whole.

> Specifying durations every time is something I'll try out too, kinda
> got used to it by using parallel input anyway. Thanks again.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 12:19 GMT+01:00 kmg  >:
>
> Thanks! Actually somehow I never used screen splitting.. now
> trying it out, and it means you have basically \parallelmusic
> without drawbacks, that's really cool. Also with folding
> Frescobaldi provides, you can hide stuff you already completed. I
> guess you can even split to 4 when working on 4 voices and then
> use another Frescobaldi window just to see preview of the score.
> I'll try that approach next time.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 11:18 GMT+01:00 Federico Bruni  >:
>
> Il giorno mar 21 feb 2017 alle 10:40, kmg
>  > ha scritto:
>
> I started to like \pararellmusic, because you can go one
> measure at a time, instead of of putting bunch of voices
> and going back and forth. On the other hand, it seems like
> it's limited and you have to restate your note lengths
> every time, also some nested slurs can be a problem
> sometimes. But it seems like the most clean approach for
> typesetting something like baroque sonata for the piano..
>
>
> Frescobaldi allows to split the editor pane vertically, so you
> can work on multiple voices (each in a different variable)
> without having to scroll up and down. This is what I use to do
> on 2 voices guitar pieces (what I usually typeset).
>
>
> Last thing - I saw some putting barchecks in the beginning
> of the line (including the very first bar). Are you doing
> it like that too?
>
>
> No, I don't.
> In general I use one line per measure; each measure ends with
> a barcheck.
> If the measure is long, I let Frescobaldi wrap lines
> (View>Wrap lines).
> If the measure contains tweaks or overrides, I nest them using
> two spaces. Even though using Frescobaldi format tool makes
> this nesting disappear; so you have to be careful (and use
> version control like git). See these two discussions:
> https://github.com/wbsoft/frescobaldi/issues/573
> 
> https://github.com/wbsoft/frescobaldi/issues/437
> 
>
>
>
>
>
>
>
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[karl]

Krzysztof Gutowski:
> As I'm recently starting to type more and more in Lily and browsing some
> scores on Mutopia Project to see how others are doing it, I wonder how you
> - proffessionals - are approaching it? Does it depends on the type of the
> score?
> I started to like \pararellmusic, [...]

I use emacs as the editor.

I always use voices put into variable (unless for testing short stuff).
Since I do mostly set choral works done by someone else, voices is a
natural way to express the music.

Also many works I typeset are in more than one parts, so I use latex to
make a booklet of the music together with some text. That also allows me
to include music from differen works in the same booklet.

> Last thing - I saw some putting barchecks in the beginning of the line
...

I always put in barchecks. I have a simplicit program [1], that puts the 
bar number after the bar check symbol. Also I write in all barnumbers 
in the music (on paper) I'm transcribing. That makes it easy to find 
possible errors and correlate to the original.

///

You can find examples of what I do at [2].

Regards,
/Karl Hammar

[1] http://aspodata.se/git/musik/bin/addnum.pl
[2] http://aspodata.se/git/musik/

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Re: ancient custom time signature

[Phil Holmes]

- Original Message - 
From: 

To: 
Sent: Tuesday, February 21, 2017 11:29 AM
Subject: ancient custom time signature



I have a piece with the following time sigs:
alla breve
timesig.mensural34 followed by a 3.
alla breve

How do I typeset the timesig.mensural34 followed by a 3 where
it should be ?

///

I try to typeset [1], on page 6 (101 in the original), there is this
mensuration (time sig.):
"tempus perfectum dimunitio et proportio tripla"
i.e. a timesig.mensural34 followed by a 3.


[snip]


My code is at [3], the current result is at [4].

Any help would be appreciated.

Regards,
/Karl Hammar

[1] http://turkos.aspodata.se/choir/ensemble/palestrina.stabat.mater.pdf
[2] http://lsr.di.unimi.it/LSR/Item?id=725
[3] 
http://turkos.aspodata.se/git/musik/Pierluigi_da_Palestrina/motetten_a8/

[4] http://turkos.aspodata.se/choir/ensemble/Stabat_Mater_a8.pdf



Could you create a minimal example of what you have so far, to make it 
possible to try to understand, comment and help?


--
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Re: ancient custom time signature

[Jean Brefort]

Le mardi 21 février 2017 à 12:29 +0100, k...@aspodata.se a écrit :
> I have a piece with the following time sigs:
>  alla breve
>  timesig.mensural34 followed by a 3.
>  alla breve
> 
> How do I typeset the timesig.mensural34 followed by a 3 where
> it should be ?
> 
> ///
> 
> I try to typeset [1], on page 6 (101 in the original), there is this
> mensuration (time sig.):
>  "tempus perfectum dimunitio et proportio tripla"
> i.e. a timesig.mensural34 followed by a 3.
> 
> With the help of [2], I have made:
> 
> #(define ((proportioD glyph a b) grob)
>    (grob-interpret-markup grob
>   (markup #:override '(baseline-skip . 2.5) #:number
>   (#:line ((markup (#:fontsize 4 #:musicglyph glyph))
>    (#:fontsize -1 #:column (a b)))
> 
> #(define ((proportioS glyph a) grob)
>   (grob-interpret-markup grob
>    (markup #:override '(baseline-skip . 2.5) #:number
> (#:line ((markup (#:fontsize 1 #:musicglyph glyph)) #:vcenter
> (#:fontsize -1 a)) 
> 
> ///
> 
> With
>   \override Score.TimeSignature.stencil =
> #(proportioS  "timesig.mensural34" "3")
> I basically get what I want, but there are two problems:
> 
> 1, the timesig is 25% bigger with this function
> 
> 2, the timesig doesn't appear where I want it, it happens at the
> "next" 
>    time sig change (where there should be an alla breve instead),
>    not at "this" (\once doesn't help).
> 
> My code is at [3], the current result is at [4].
> 
> Any help would be appreciated.
> 
> Regards,
> /Karl Hammar
> 
You might use something like:
  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
  \override Staff.TimeSignature #'text = \markup {\musicglyph 
#"timesig.mensural34" \lower #0.9 \bold \large "3"}

Hope this helps,
Jean

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Re: ancient custom time signature

[karl]

Phil Holmes:
> From: 
> >I have a piece with the following time sigs:
> > alla breve
> > timesig.mensural34 followed by a 3.
> > alla breve
> >
> > How do I typeset the timesig.mensural34 followed by a 3 where
> > it should be ?
...
> > I try to typeset [1], on page 6 (101 in the original), there is this
> > mensuration (time sig.):
> > "tempus perfectum dimunitio et proportio tripla"
> > i.e. a timesig.mensural34 followed by a 3.
...
> > My code is at [3], the current result is at [4].
> >
> > Any help would be appreciated.
...
> > [1] http://turkos.aspodata.se/choir/ensemble/palestrina.stabat.mater.pdf
> > [2] http://lsr.di.unimi.it/LSR/Item?id=725
> > [3] http://turkos.aspodata.se/git/musik/Pierluigi_da_Palestrina/motetten_a8/
> > [4] http://turkos.aspodata.se/choir/ensemble/Stabat_Mater_a8.pdf
> Could you create a minimal example of what you have so far, to make it 
> possible to try to understand, comment and help?

http://aspodata.se/tmp/tsig.ly

Regards,
/Karl Hammar

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Re: ancient custom time signature

[karl]

Jean Brefort:
...
> You might use something like:
>   \override Staff.TimeSignature #'stencil = #ly:text-interface::print
>   \override Staff.TimeSignature #'text = \markup {\musicglyph 
> #"timesig.mensural34" \lower #0.9 \bold \large "3"}

Thanks, that make the time sigs same size.

Regards,
/Karl Hammar

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Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Karl, Urs, thanks for your repositories, definitely interesting stuff
there. I'm kinda overwhelmed by all your includes and multiple files +
scheme stuff, but I can appreciate the organisation of larger works and
will maybe try it out little by little, even for smaller works. LilyPond
Manuals are great, but seeing some live application is totally different
story!

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 12:29 GMT+01:00 kmg :

> Also, thanks Urs! For some reason I saw your response only when checking
> out the lists directly, it was not in my mailbox. Honestly I also like the
> idea of one voice at a time better, and Frescobaldi helps with seeing it
> consistently (as you guys pointed out). Before I saw only "|" at the
> beginning in some files, but your "| % bar " is so cool, I'll definitely
> try to use that (as the lines are sometimes so long you can't really find
> that mark easily). Specifying durations every time is something I'll try
> out too, kinda got used to it by using parallel input anyway. Thanks again.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 12:19 GMT+01:00 kmg :
>
>> Thanks! Actually somehow I never used screen splitting.. now trying it
>> out, and it means you have basically \parallelmusic without drawbacks,
>> that's really cool. Also with folding Frescobaldi provides, you can hide
>> stuff you already completed. I guess you can even split to 4 when working
>> on 4 voices and then use another Frescobaldi window just to see preview of
>> the score. I'll try that approach next time.
>>
>> Pozdrawiam,
>> Krzysztof Gutowski
>>
>> 2017-02-21 11:18 GMT+01:00 Federico Bruni :
>>
>>> Il giorno mar 21 feb 2017 alle 10:40, kmg 
>>> ha scritto:
>>>
 I started to like \pararellmusic, because you can go one measure at a
 time, instead of of putting bunch of voices and going back and forth. On
 the other hand, it seems like it's limited and you have to restate your
 note lengths every time, also some nested slurs can be a problem sometimes.
 But it seems like the most clean approach for typesetting something like
 baroque sonata for the piano..


>>> Frescobaldi allows to split the editor pane vertically, so you can work
>>> on multiple voices (each in a different variable) without having to scroll
>>> up and down. This is what I use to do on 2 voices guitar pieces (what I
>>> usually typeset).
>>>
>>>
 Last thing - I saw some putting barchecks in the beginning of the line
 (including the very first bar). Are you doing it like that too?

>>>
>>> No, I don't.
>>> In general I use one line per measure; each measure ends with a barcheck.
>>> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
>>> If the measure contains tweaks or overrides, I nest them using two
>>> spaces. Even though using Frescobaldi format tool makes this nesting
>>> disappear; so you have to be careful (and use version control like git).
>>> See these two discussions:
>>> https://github.com/wbsoft/frescobaldi/issues/573
>>> https://github.com/wbsoft/frescobaldi/issues/437
>>>
>>>
>>>
>>>
>>
>
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Kieren MacMillan]

Hi all,

> On Feb 21, 2017, at 5:35 AM, Urs Liska  wrote:
> 
>   | % 41
>   d4 d d d
> 
> This makes the input file vertically "longer", but usually that doesn't 
> matter. The advantage is that it makes it very clear visually what happens, 
> and (if you use that) it gives very good commits to a version control system 
> such as Git.
> 
> The sample includes another recommendation: Specify the duration at the 
> beginning of each line, even if it's not technically necessary. This makes it 
> more obvious on first sight, and it helps avoid errors if you should change 
> anything later.

+1 to both of these. I’m slowly updating all my old scores/code to this 
standard.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Chord diagrams

[Patrick Schmidt]

You can find a huge library of predefined guitar fretboards here: 
https://github.com/Philomelos/lilypond-predefined-fretboards/blob/master/README.org
 (The documentation is not complete but I think you get the gist.  You can find 
loads of examples in the test files 
(https://github.com/Philomelos/lilypond-predefined-fretboards/tree/master/EADGBE/test).)

HTH
Patrick
On 20.02.2017, at 11:51, Don Gingrich  wrote:

> A simple problem, I hope
> 
> I have a local copy of predefined-guitar-fretboards.ly
> 
> I used a C chord with G bass and noticed
> that I got a three string chord
> 
> open G 1st fret B and open E 
> 
> This * is* a C with the bottom note a G
> 
> But every guitar player I know would play that as
> 
> G on the low E string
> C on the A string
> E on the D string
> G string open
> C on the B string 
> and Open High E 
> 
> What do I need to hack in the predefined-guitar-fretboards.ly
> to get the chord diagram that I want?
> 
> I tried the following without success
> 
> \storePredefinedDiagram #default-fret-table \chordmode {c:/g}
>   #guitar-tuning
>   #"3-4;3-3;2-2;o;1-1;o;"
> 
> But it didn't break everything else, so I may be close
> 
> 
> 
> Cheers,
> 
> -Don
> -- 
> Don Gingrich
> 
> 
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[karl]

Krzysztof Gutowski:
> Karl, Urs, thanks for your repositories, definitely interesting stuff
> there. I'm kinda overwhelmed by all your includes and multiple files +
> scheme stuff,

:) yea, I know the fealing.

> but I can appreciate the organisation of larger works and
> will maybe try it out little by little, even for smaller works.

Just gather things that is common to a few files, put it in a file and
include it.

> LilyPond
> Manuals are great, but seeing some live application is totally different
> story!

Yes, they are very good.

Regards,
/Karl Hammar

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Re: ancient custom time signature

[karl]

Karl:
> Phil Holmes:
> > From: 
> > >I have a piece with the following time sigs:
> > > alla breve
> > > timesig.mensural34 followed by a 3.
> > > alla breve
> > >
> > > How do I typeset the timesig.mensural34 followed by a 3 where
> > > it should be ?
...

Found a solution, thank Jean for your suggestion that made me solve this.
==
\version "2.18.0"

dupla = {
  \override Staff.TimeSignature #'text = \markup {\musicglyph 
#"timesig.mensural22"}
  \time 2/1
}
tripla = {
  \override Staff.TimeSignature #'text = \markup {\musicglyph 
#"timesig.mensural34" \lower #0.9 \bold \large "3"}
  \time 3/1
}

Ma = \relative a' {
  \override Score.TimeSignature #'stencil = #ly:text-interface::print
  \override Score.NoteHead #'style = #'baroque

  \dupla   a1 b |
  \tripla  cis\breve cis1 |
  \dupla   d1. d2 |
}
\score { \new Staff \Ma }
==

Seems that

 \set Staff.timeSignatureFraction = #'(2 . 2)

which I used for alla breve, interferred with

  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
  \override Staff.TimeSignature #'text = \markup {\musicglyph 
#"timesig.mensural34" \lower #0.9 \bold \large "3"}

in some way.

Regards,
/Karl Hammar

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Multiple lyrics under a guitar tab with loops and coda

[gdb77]

Hello,

I have voice (guitar tab) with a quite complex structure using volta
segno and coda and I want to put lyrics under it. The only way I found
to do that is the following :

TrackTabStaff = \new TabStaff <<
  \context TabVoice = "tab" {
\track
  }
  \new Lyrics \lyricsto "tab" \trackOneLyrics
  \new Lyrics \lyricsto "tab" \trackTwoLyrics
  \new Lyrics \lyricsto "tab" \trackThreeLyrics
>>

There's no issue with the pdf output but my lyrics are very badly organized:

trackOneLyrics contains : 1st verse + bridge + coda + 1st part of final
trackTwoLyrics contains : 2nd verse + fake empty lyrics+ 2nd part of final
trackThreeLyrics contains : 3rd verse + fake empty lyrics + 3rd part of
final

The real order of the lyrics (corresponding to the structure of the
voice)  is:
1st verse + 2nd verse + bridge + 3rd verse + coda + final

Is there a better way to write my file with lyrics in logical order or
with blocks of lyrics that I will manualy put under the corresponding
part of the voice? Please note I'm working with a guitar tab and not a
standard staff (it seems that some solutions to manage lyrics cannot
apply to guitar tab!).

Thanks in advance,

Guillaume.


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Re: LilyBin embedded [WAS: New LilyPond website]

[tisimst]

On Mon, Feb 20, 2017 at 9:41 AM, Phil Holmes-2 [via Lilypond] <
ml-node+s1069038n200317...@n5.nabble.com> wrote:

> 
> Lilypond.org gets around 700 sessions per day, according to Google
> analytics.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* [hidden email]
> 
> *To:* [hidden email]
>  ; [hidden email]
> 
> *Cc:* [hidden email]
>  ; [hidden email]
> 
> *Sent:* Monday, February 20, 2017 3:58 PM
> *Subject:* Re: LilyBin embedded [WAS: New LilyPond website]
>
> I'm primarily responsible for LilyBin. A year or so ago, Timothy Gu
> (copied) and I got LilyPond running in AWS Lambda, which should be able to
> handle plenty of traffic. I get 266,667 seconds of free computation time
> per month from Amazon. We used 38,094 seconds in January for 18,398
> requests, meaning we should be able to handle—very roughly
> estimating—100,000 more requests per month. How many visitors does
> lilypond.org get?
>
> The LilyBin UI isn't made to be embeddable, but could be made so. I'd
> probably recommend just wiring up CodeMirror  and
> PDF.js  yourself rather than trying to
> show LilyBin in an iframe.
>
> I'll be happy to work with you if you want a LilyBin-powered demo on the
> home page!
>
> I love the idea of being able to let visitors try out LP code right there
when browsing the home page. I wonder if a dedicated subdomain (e.g.,
live.lilypond.org) would be more appropriate?

Here's what I'm thinking.

Each LP example in the docs has a real source file associated with it,
right? So,...

1. Put LilyBin functionality at live.lilypond.org
2. Put all the doc's source files in a directory structure that the new
site can access (ideally, through a web-navigate-able directory tree)
3. Place a "Try this live!" link next to each score example in the docs (or
the image hyperlink) that points to the specific file in #2 that the
visitor can play around with (but can't save over), rather than just
linking to a plain text file

This is a wish list, of course, but could be a very cool feature for
new/potential users wanting to get their feet wet.

Best,
Abraham




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Re: Frescobaldi 3.0

[Federico Bruni]

Il giorno lun 20 feb 2017 alle 17:51, Federico Bruni 
 ha scritto:
As soon as the main distros will distribute python-poppler-qt5, 
things should be easier.


BTW, I've just realized that Debian stretch (and therefore LilyDev 5) 
has already Frescobaldi 3 package:

https://packages.debian.org/stretch/frescobaldi


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Re: Different spacings indifferent staves

[Les Éditions Valmajour - pg]

Hi Alexander,

First of all, my apologies for replying so late, I was away from home 
without my computer to test.


I tried a few things with the SpacingSpanner, but none works in the 
direction I want. I tried your solution, it doesn't work either. I may 
have placed the commands in the wrong place, but I don't think so.


Thanks!

Pierre


Le 13/02/2017 à 16:53, Alexander Kobel a écrit :

Hi Pierre,

On 2017-02-13 10:57, Les Éditions Valmajour - pg wrote:

Hello co-listers,

does anyone know if there a way to apply different horizontal spacings to 
different staves, whithin the same bar?

In the attached example, the stemless notes are 16ths. I would like the 
stemless notes to be strictly evenly spaced, [...]

How about using \override Score.SpacingSpanner.strict-note-spacing = ##t (see 
Notation reference, sec. 4.5.5)?
You might want to add a \newSpacingSection between b-. and c-. (so before the first note 
after \bar "|."), in case you want to acknowledge the barline in the spacing.


HTH,
Alexander


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À bientôt!


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Re: Different spacings indifferent staves

[Alexander Kobel]

Hi Pierre,

sorry to hear - I hoped that this might give you the desired result. 
I'm out of other ideas for that problem, unfortunately.


On a different note:  I just had a quick look at your webpage, and 
stumbled across the Dixième Œuvre by Naudot.  In the preview, the first 
page shows something I never managed to typeset with Lily: the 
"suspended" system with the "D.C. al fine" mark.  Am I correct that this 
piece is engraved using Lily, too?  Would you mind sharing how you 
managed to interrupt the system there and, in particular, how you could 
get a new SystemStartBracket for the rest of the line?



Cheers,
Alexander


On 2017-02-21 20:25, Les Éditions Valmajour - pg wrote:

Hi Alexander,

First of all, my apologies for replying so late, I was away from home
without my computer to test.

I tried a few things with the SpacingSpanner, but none works in the
direction I want. I tried your solution, it doesn't work either. I may
have placed the commands in the wrong place, but I don't think so.

Thanks!

Pierre


Le 13/02/2017 à 16:53, Alexander Kobel a écrit :

Hi Pierre,

On 2017-02-13 10:57, Les Éditions Valmajour - pg wrote:

Hello co-listers,

does anyone know if there a way to apply different horizontal
spacings to different staves, whithin the same bar?

In the attached example, the stemless notes are 16ths. I would like
the stemless notes to be strictly evenly spaced, [...]

How about using \override Score.SpacingSpanner.strict-note-spacing =
##t (see Notation reference, sec. 4.5.5)?
You might want to add a \newSpacingSection between b-. and c-. (so
before the first note after \bar "|."), in case you want to
acknowledge the barline in the spacing.


HTH,
Alexander




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Re: ANN: Frescobaldi 2.20.0, Frescobaldi 3.0.0, python-ly 0.9.5

[Jinsong Zhao]

On 2017/2/17 17:58, Wilbert Berendsen wrote:

Dear friends,

I just released the source packages for Frescobaldi 2.20.0, Frescobaldi
3.0.0 and python-ly 0.9.5 today. (I couldn't way until my birthday early
March :-))

Frescobaldi 2.20.0 provides a new Manuscript viewer, contributed by
Urs Liska and Peter Bjuhr, some smaller features, improvements, updated
translations and bug fixes.

Frescobaldi 3.0.0 is feature-wise the same, but requires Python3 and
Qt5. Qt5 has support for Retina displays and gestures, and Frescobaldi
3.0.0 already uses them, which should provide a better Music View image
quality. Thanks to David Rydh for implementing this!

Frescobaldi 3.x is the branch (master) where new development will be
done.

Development of Frescobaldi 2.x (branch v2.x) concentrates on bugfixing
and backporting important features that can be backported from the 3.x
branch, supporting older platforms that do not provide Python3 or Qt5.

Python-ly 0.9.5 has seen some bug fixes and improvements, and is
recommend to use, although Frescobaldi works well with 0.9.4.

Thanks go to all the translators and contributors!
Enjoy!

Wilbert

https://pypi.python.org/pypi/python-ly
https://github.com/wbsoft/frescobaldi/releases



Thanks for the great software. I am just wondering whether the 3.0 
release has a binary package (installer) for Windows 64bit, or not.


Best,
Jinsong


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Markup with dimensions

[Andrew Bernard]

Just a question about \with-dimensions in markup. I have a simple function
which is to draw a line between two specified points, not just to an end
point as per the \draw-line type functions. Unless you specify
\with-dimensions at the point of calling the markup command, it starts at
the (0 . 0) point. While I can understand this, the question is, can the
\with-dimensions function (I use the term function loosely here) be
incorporated into the scheme markup command? Or is this a case for writing
the markup in lilypond syntax in the scheme function and using the
\with-dimensions that way? I was unable to find a scheme with-dimensions
function - I imagine that is because the dimension calculations happens at
a different stage of the layout computation?

I want this function rather than an alternate solution as it is a cut down
MWE of a more elaborate function that incorporates some other graphic
commands as well.

So then as a second question, is it better to write define-markup-command
functions in all Scheme, or to use lilypond syntax therein? I seem to
recall some brief mention of this point in the list some time ago, but I
never got the impression of a definitive answer or firm recommendation.


Andrew

== snip

\version "2.19.55"

#(define-markup-command (line-from-to layout props from to)
   (number-pair? number-pair?)
   #:properties ((thickness 0.15))
   (let* ((startx (car from))
  (starty (cdr from))
  (endx (car to))
  (endy (cdr to)))
 (make-line-stencil thickness startx starty endx endy)))

{
  c'4
  ^\markup \draw-line #'(4 . 4)
   c'4
  ^\markup \line-from-to #'(0.5 . -3) #'(3 . 3)
  c'4
  ^\markup \with-dimensions #'(0 . 0) #'(0 . 0) \line-from-to #'(0.5 . -3)
#'(3 . 3)
}


== snip
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[Johan Vromans]

On Tue, 21 Feb 2017 11:35:40 +0100, Urs Liska  wrote:

> Specify the duration at the beginning of each line, even if it's not
> technically necessary. This makes it more obvious on first sight, and it
> helps avoid errors if you should change anything later.

I've been doing that for ages and it is really, really helpful!

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