date:20170319

Re: Partial

2017-03-19 Thread Engraver




Op 18 maart 2017 21:49:17 schreef Joseph Austin :



But thinking about it, I'm wondering why one would want to notate a 
different duration than is actually played,




A reason can be to make room in the bar for something else. For example, I 
use it to engrave grace-like notes at the end of a bar. This happens a lot 
in the baroque organ music I am typesetting. By playing with the fractions 
in this example the position of f sharp-g relative to the left hand part 
can be controlled.


\version "2.18.2"

musicRH = \relative c'' {  g2*7/8\mordent( \teeny fis16*1/2 g) \normalsize 
\grace fis8( e2) }


musicLH = \relative c' { \clef bass e8 b a b g e g a |}

\score = {
 <<
\musicRH
\new Staff \musicLH
 >>
}



I'm relatively new to Lilypond at this level of detail.
All I can say is that the allowed forms and interpretation of \partial 
isn't so clear to me from the existing documentation.




I recognize that sentiment. I am sure the information is all there. But 
it's not always clear to someone who isn't already versed in Lilypond.


Regards,
Auke

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Re: Fwd: Justify to both sides

2017-03-19 Thread Timothy Lanfear


On 18/03/17 21:21, Colin Campbell wrote:

On 2017-03-18 10:28 AM, CieMaKat . wrote:

Hello everyone!

I would like to place custom header for piece, i.e.: hymn number and 
authors of music and lyrics aligned to both sides of the page:

Obraz w treści 2

I tried to do it with fill-line, but then part of the /"Lyrics 
author" /goes off the page. Please check a result of the following code:


\version "2.18.0"

\score {
  \new Voice { c' }
  \addlyrics { Al }

  \header {
piece = \markup {
  \line { \lower #2.4 \fontsize #8 \bold "105 " }
  \column {
\bold "Hymn Title"
\fill-line {
  \line { Melody author }
  \line { Lyrics author }
}
  }
}
  }
}


How can I fix that?



I believe the Notation Reference, at section 3.2.2 Custom titles, 
headers and footers, will give you wqhat you need. The starting point 
will likely involve creating a scoreTitleMaqrkup.


Hope that helps!

Colin



Here is a possible solution with a working markup placed in a 
scoreTitleMarkup as Colin proposed.


\version "2.18.2"

\paper {
  scoreTitleMarkup =
  \markup \fill-line {
\concat {
  \lower #2.4 \fontsize #8 \bold \fromproperty #'header:number
  \hspace #2
  \column { \bold \fromproperty #'header:piece \fromproperty 
#'header:composer }

}
\column { \null \fromproperty #'header:poet }
  }
}

\score {
  \new Voice { c' }
  \addlyrics { Al }

  \header {
number   = "105"
composer = "Melody author 1"
poet = "Lyrics author 1"
piece= "Hymn title 1"
  }
}

\score {
  \new Voice { d' }
  \addlyrics { Al }

  \header {
number   = "106"
composer = "Melody author 2"
poet = "Lyrics author 2"
piece= "Hymn title 2"
  }
}

--
Timothy Lanfear, Bristol, UK.


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Re: Partial

2017-03-19 Thread Wols Lists

On 19/03/17 07:20, Engraver wrote:
> Op 18 maart 2017 21:49:17 schreef Joseph Austin :
> 
>>
>> But thinking about it, I'm wondering why one would want to notate a
> different duration than is actually played,
>>
> 
> 
> A reason can be to make room in the bar for something else. For example,
> I use it to
> 
I'm sure I've done stuff like this ...

| g1*3/4 s4 |

Can't remember why, but quite possibly to attach dynamics. Quite often
the termination point of say a crescendo isn't where I want it so
something like "g1*3/4\< s4\!" would make sense. The spacer rest gives
you an attachment point for stuff.

Cheers,
Wol

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Re: Partial

2017-03-19 Thread Kieren MacMillan

Hi Joseph,

> I'm wondering why one would want to notate a different duration than is 
> actually played

There are any number of reasons:

1. creating Schenker graphs (and other "non-traditional” use of traditional 
notation elements);

2. exploding vs. imploding tuplets;

3. contemporary notation not adequately handled by traditional duration-based 
noteheads;

4. in Lilypond in particular, getting around voice-based limitations (e.g., 
offsetting dynamics without using a function like \after).

etc.

Hope that helps!
Kieren.


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


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Re: can we pass in header variables as CLI parameters?

2017-03-19 Thread Ian Ring

Huge thanks to Timothy Lanfear! That solution works perfectly.

I can pass multiple parameters in like this:

lilypond -e '(define-public title "my song")(define-public 
copyrightyear "2017")(define-public ismn "12345-678-90-5")' tmp.ly

and then my header looks like:

\header {
 copyrightyear = \copyrightyear
 title = \title
 ismn = \ismn
}

It only works if the Guile module is added...

#(use-modules (guile-user))

Cheers!
Ian


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addChordShape shape-definition

2017-03-19 Thread Anders Eriksson

I'm trying to create my own predefined chords and I'm wondering about 
the shape definition


In predifined-guitar-freatboards.ly there is this

\addChordShape #'f #guitar-tuning #"1-1-(;3-3;3-4;2-2;1-1;1-1-);"

This shape-definition doesn't follow the 
|\fret-diagram|definition-stringspecification, and I can't find any 
specification for the adChordShape shape-definition.


Would someone please give me a link to where this spec is, or explain 
how it works?


// Anders


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How to simulate MuseScore's horizontal frame?

2017-03-19 Thread caagr98

The best I've managed to do is to show the clef and keysig. However, I 
haven't managed to fix the brackets, or reposition the coda or clefs. 
See the attached images for details.


Is there some way to do this?
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Re: How to simulate MuseScore's horizontal frame?

2017-03-19 Thread Jeffery Shivers

On Sun, Mar 19, 2017 at 4:14 PM,   wrote:
> The best I've managed to do is to show the clef and keysig. However, I
> haven't managed to fix the brackets, or reposition the coda or clefs. See
> the attached images for details.

Could you add a minimum example of that LP code, too?

It might be hard to cut your score down to a tiny example that keeps
that exact placement, but if you can get it relatively close I (and
others) might have a better chance at finding the solution you need.

Best,
Jeffery

>
> Is there some way to do this?
>
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-- 

Jeffery Shivers
 jefferyshivers.com
 soundcloud.com/jefferyshivers

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Re: Entering (lute) tablature

2017-03-19 Thread Thomas Morley

2017-03-18 23:36 GMT+01:00 David Kastrup :
>
> Well, lute tablature has the obvious advantage(?) to be using letters
> instead of fret numbers.
>
> I went totally annoyed over entering the first few measures of the
> following tablature appended as PDF
>
>
>
> so I finally decided that this wasn't working for me.
>
> So here is a sketch of entering this score by tab:
>
>
>
> Pretty sure I entered stuff wrong here (there is some programming error,
> too) and probably did not decipher all of the tab correctly.  Anybody
> wanting to proofread?
>
> At any rate, at least for lettered tabs this is a somewhat cure entry
> method (of course, the "letters" start over since the order is
> a b c d e f g a' b' c' d' ...).
>
> Should something like this, though likely more robust against bad
> entries, be part of LilyPond's standard tool chest?
>
> --
> David Kastrup



Hi David,

I didn't proofread.
Though some observations.

(1)
Why not

"|" = \bar "|"

instead of

content = #(map-some-music
(lambda (m)
 (and (music-is-of-type? m 'bar-check)
  #{ \bar "|" #}))
content)

(2)
A seven string tablature is hard to read, imho.
Why not use 'additionalBassStrings'. I would print "0" below sixth string here.

(3)
I tried to boil down the programming error. Minimal:

\new Score \with { defaultBarType = "" } { c'1. }

It's already present in 2.14.2.
2.12.3 doesn't print an error. No clue if the error isn't there for
this version or if it's not recognized and printed to the terminal.


I'd need to have a far closer look at the 'tabtranslate', before I
could say anything relevant about this function.


Cheers,
  Harm

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Re: How to simulate MuseScore's horizontal frame?

2017-03-19 Thread caagr98

Alright, here's a small example. The Devnulls are my workaround for 
multiple marks at the same place. Other than those, there's nothing too 
remarkable.


On 03/19/17 21:34, Jeffery Shivers wrote:

On Sun, Mar 19, 2017 at 4:14 PM,   wrote:

The best I've managed to do is to show the clef and keysig. However, I
haven't managed to fix the brackets, or reposition the coda or clefs. See
the attached images for details.


Could you add a minimum example of that LP code, too?

It might be hard to cut your score down to a tiny example that keeps
that exact placement, but if you can get it relatively close I (and
others) might have a better chance at finding the solution you need.

Best,
Jeffery



Is there some way to do this?

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\version "2.18.2"

Coda = {
	\context Devnull = "coda"
		\tweak self-alignment-X #RIGHT
		\mark "D.S. al coda"
	\bar "||"
	\stopStaff
	s1
	\startStaff
	\once \override Staff.KeySignature.break-visibility = #all-visible
	\once \override Staff.Clef.break-visibility = #all-visible
	\context Devnull = "marks" \mark \default
	\context Devnull = "coda" \mark \markup { \musicglyph #"scripts.coda" }
}

music = { c'4 d' e' f' \Coda c'4 d' e' f' }

\score {
	\new Devnull = "marks"
	\new Devnull = "coda" \with {
		\override RehearsalMark.font-size = 0
		\override RehearsalMark.outside-staff-priority = 1501
	}
	\new ChoirStaff <<
		\new Staff { \key es \major \music}
		\new Staff { \clef F \music }
	>>
	\layout {
		\context { \Score \remove "Mark_engraver" }
		\context { \Devnull \consists "Mark_engraver" }
	}
}
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Re: Entering (lute) tablature

2017-03-19 Thread David Kastrup

Thomas Morley  writes:

> I didn't proofread.
> Though some observations.
>
> (1)
> Why not
>
> "|" = \bar "|"
>
> instead of
>
> content = #(map-some-music
> (lambda (m)
>  (and (music-is-of-type? m 'bar-check)
>   #{ \bar "|" #}))
> content)

Beat you to it: it already looked like that before you observed this.
Probably the original thought was that I was proposing an entry method
and should not go about redefining existing functionality, but the
haphazard metrum is really specific for that piece anyway, so there is
no point in that transformation.

> (2)
> A seven string tablature is hard to read, imho.
> Why not use 'additionalBassStrings'. I would print "0" below sixth string 
> here.

Uh, I wasn't really talking about that specific piece.  I was more
interested in opinions about the input rather than the output.

> (3)
> I tried to boil down the programming error. Minimal:
>
> \new Score \with { defaultBarType = "" } { c'1. }

Oh.  Interesting.

> It's already present in 2.14.2.
> 2.12.3 doesn't print an error. No clue if the error isn't there for
> this version or if it's not recognized and printed to the terminal.
>
>
> I'd need to have a far closer look at the 'tabtranslate', before I
> could say anything relevant about this function.

Oh, I wasn't asking for a critique of how the function is implemented.
It can be made more robust, and its performance is sort of a non-issue
since it transforms the input in a single pass doing rather little.

I was more interested in the opinion of people about _what_ the function
does, not how it does it.

The whole point was being able to enter tablature coded by string and
fret number (well, actually name) rather than by note.

One could write a notename language with note names O I II III IV V VI
... instead of a b c d e f g but of course for this particular French
style score, the a...g approach was more convenient.

So instead of

  4
  q8 d\2 |
  16
  c\2 c8\2
  16
  a32\2 d\3 a8\2 |

one could write this as

  4
  q8 III\2 |
  16
  II\2 II8\2
  16
  O32\2 III\3 O8\2 |

Or the same in lowercase?

  4
  q8 iii\2 |
  16
  ii\2 ii8\2
  16
  o32\2 iii\3 o8\2 |

At any rate, the point I was trying to make is that this kind of input
is pretty quick to enter, is supported by the current parser, and can be
transformed reasonably straightforwardly into notes.  One shortcoming is
that there should be a way to override the enharmonic notename choice on
a case-by-case basis.  Maybe just not descend into
\relative/\fixed/\absolute ?

I remember several requests about being able to enter tablature in its
raw form.  And after transcribing a few bars manually I decided that I
wasn't going to do the brunt of a tedious task that was reasonably
suited for a computer to do.

Given how annoying I found the process of figuring out the notes from a
tablature source, I am somewhat surprised that nobody considers this
aspect of the example I posted worth commenting on.

Maybe my inability to focus on any tedious task for more than half an
hour is coloring my own impression of usefulness here.

Of course, getting good notes out requires _more_ than this since the
tablature only shows note starts, not note ends.  That makes it easy to
enter everything as one voice, but in a proper note rendition one would
want to let a number of notes have longer note values and use multiple
voices.

But for reproducing the information content of the tablature, this is a
good first approximation.

-- 
David Kastrup

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Re: Entering (lute) tablature

2017-03-19 Thread David Kastrup

"Trevor Daniels"  writes:

> David Kastrup wrote Saturday, March 18, 2017 10:36 PM
>
>
>> So here is a sketch of entering this score by tab:
>
> Looks good and seems to work well.
>  
>> Pretty sure I entered stuff wrong here (there is some programming error,
>> too) and probably did not decipher all of the tab correctly.  Anybody
>> wanting to proofread?
>
> I could see only one issue - in bar 16 there is a spurious Bb I think.
> It seems to be just a smudge in the original score, so I deleted it.

Yes, I chose the same.  Not sure whether it's some sort of embellishment
though.

> I attach a rerendering for lute using your file and a cobbled-together
> toy engraver I wrote for outputting lute tab. (I had to change only
> the octavation.)  This makes checking the data entry very easy by
> straight comparison with the original.

With xpdf, I see a fat display font for fret letters (and I find the use
of r for c rather confusing).  With the default PDF viewer "Atril"
(Evince for the Mate desktop) on my desktop, I only see empty spaces.

So something seems to be amiss with the font embedding.

-- 
David Kastrup

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Re: How to simulate MuseScore's horizontal frame?

2017-03-19 Thread Jeffery Shivers

On Sun, Mar 19, 2017 at 4:55 PM,   wrote:
> Alright, here's a small example. The Devnulls are my workaround for multiple
> marks at the same place. Other than those, there's nothing too remarkable.

Oh, this might be useful at least for the brackets:
http://lists.gnu.org/archive/html/lilypond-user/2012-05/msg00379.html

>From what I know, there isn't a way to engrave most SystemStart things
as if they were a new system in the middle of a line (at least not
naturally), but the other things should be similarly hackable.

I think there was another discussion on that sort of thing recently on
here (within the last month or so).

HTH

>
>
> On 03/19/17 21:34, Jeffery Shivers wrote:
>>
>> On Sun, Mar 19, 2017 at 4:14 PM,   wrote:
>>>
>>> The best I've managed to do is to show the clef and keysig. However, I
>>> haven't managed to fix the brackets, or reposition the coda or clefs. See
>>> the attached images for details.
>>
>>
>> Could you add a minimum example of that LP code, too?
>>
>> It might be hard to cut your score down to a tiny example that keeps
>> that exact placement, but if you can get it relatively close I (and
>> others) might have a better chance at finding the solution you need.
>>
>> Best,
>> Jeffery
>>
>>>
>>> Is there some way to do this?
>>>
>>> ___
>>> lilypond-user mailing list
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>>>
>>
>>
>>
>



-- 

Jeffery Shivers
 jefferyshivers.com
 soundcloud.com/jefferyshivers

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Help - Align staff to the middle of page.

2017-03-19 Thread Allen Wu

Hey guys,

Anyone knows how to align music staff to the middle of the page instead of
the top?

Best,
Allen
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Re: Entering (lute) tablature

2017-03-19 Thread Thomas Morley

2017-03-19 22:41 GMT+01:00 David Kastrup :

> Given how annoying I found the process of figuring out the notes from a
> tablature source, I am somewhat surprised that nobody considers this
> aspect of the example I posted worth commenting on.

Speaking only for me, probably because I am a classical guitarist,
I'm used to decipher many sorts of historic tablatures.
Mostly italian and french tablatures. The tablature used by Luis
Milan. Alfabeto Italiano, etc.
Not to mention german tablature, though I never understood german
tablature, or more precisely I never _wanted_ to...

Studying those deeply, gives me a better feeling how to perform the
music, with regard to note-durations, voices, polyphony, etc

As you write yourself:

> Of course, getting good notes out requires _more_ than this since the
> tablature only shows note starts, not note ends.  That makes it easy to
> enter everything as one voice, but in a proper note rendition one would
> want to let a number of notes have longer note values and use multiple
> voices.

As a performer I'm not very interested in modern typeset tablatures.
Ofcourse I'm aware many people are. I mostly do tablature work, when
answering user-requests on the list, lol.
So I'm sure your "tab-input-mode" will find lots of enthusiastic users.

Best,
  Harm

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Re: Entering (lute) tablature

2017-03-19 Thread Hans Åberg


> On 19 Mar 2017, at 23:54, Trevor Daniels  wrote:
> 
> David Kastrup wrote Sunday, March 19, 2017 10:11 PM
> 
>> Here is my version using
>> 
>> \new TabStaff \with { stringTunings = \lute-tuning
>>  tablatureFormat = #fret-letter-tablature-format
>>  fretLabels = \markuplist \bold \fontsize #3 \lower #0.2
>>  { 𝔞 𝔟 𝔠 𝔡 𝔢 𝔣 𝔤 𝔥 𝔦 𝔨 𝔩 𝔪 𝔫 𝔬 𝔭 }
>> } \content
>> 
>> (\bold does not seem to work, however):
> 
> Much nicer.

The mathematical bold fraktur are separate Unicode code points, so probably 
must have a separate list.



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Re: Entering (lute) tablature

2017-03-19 Thread David Kastrup

"Trevor Daniels"  writes:

> David Kastrup wrote Sunday, March 19, 2017 10:11 PM
>
>> Here is my version using
>>
>> \new TabStaff \with { stringTunings = \lute-tuning
>>   tablatureFormat = #fret-letter-tablature-format
>>   fretLabels = \markuplist \bold \fontsize #3 \lower #0.2
>>   { 𝔞 𝔟 𝔠 𝔡 𝔢 𝔣 𝔤 𝔥 𝔦 𝔨 𝔩 𝔪 𝔫 𝔬 𝔭 }
>>  } \content
>>
>> (\bold does not seem to work, however):
>
> Much nicer.
>
> Re font-embedding, the attached uses the characters you suggested above, 
> in a pdf produced  by LP running in Frescobaldi (if that matters).  Is there
> a problem with font embedding now?

Looks ok in either viewer.  On second thought, maybe I exaggerated the
font size a bit.  A bit smaller will likely end up more rather than less
readable.

> (BTW, on second thoughts, I think the smudge could be an e - note A - as 
> shown here.)

Musically maybe, but the graphics don't support that: there is a
"proper" e right below and it has a different horizontal position and
quite dissimilar inking.

-- 
David Kastrup

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Re: Entering (lute) tablature

2017-03-19 Thread David Kastrup

Hans Åberg  writes:

>> On 19 Mar 2017, at 23:54, Trevor Daniels  wrote:
>> 
>> David Kastrup wrote Sunday, March 19, 2017 10:11 PM
>> 
>>> Here is my version using
>>> 
>>> \new TabStaff \with { stringTunings = \lute-tuning
>>>  tablatureFormat = #fret-letter-tablature-format
>>>  fretLabels = \markuplist \bold \fontsize #3 \lower #0.2
>>>  { 𝔞 𝔟 𝔠 𝔡 𝔢 𝔣 𝔤 𝔥 𝔦 𝔨 𝔩 𝔪 𝔫 𝔬 𝔭 }
>>> } \content
>>> 
>>> (\bold does not seem to work, however):
>> 
>> Much nicer.
>
> The mathematical bold fraktur are separate Unicode code points, so
> probably must have a separate list.
>
>
>

Ok, so

\new TabStaff \with { stringTunings = \lute-tuning
 tablatureFormat = #fret-letter-tablature-format
 fretLabels = \markuplist \fontsize #2 \lower #0.2
 { 𝖆 𝖇 𝖈 𝖉 𝖊 𝖋 𝖌 𝖍 𝖎 𝖐 𝖑 𝖒 𝖓 𝖔 𝖕 }
} \content

But c and e _do_ look too similar.  Well, it was a nice idea.

-- 
David Kastrup

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Re: addChordShape shape-definition

2017-03-19 Thread Carl Sorensen

On 3/19/17 8:24 AM, "Anders Eriksson"  wrote:

>
>  
>  
>I'm trying to create
>my own predefined chords and I'm wondering about the shape
>definition
>In
>predifined-guitar-freatboards.ly there is this
>\addChordShape #'f
>#guitar-tuning #"1-1-(;3-3;3-4;2-2;1-1;1-1-);"
>This shape-definition
>doesn't follow the  \fret-diagram definition-string
>specification, and I can't
>find any specification for the adChordShape
>shape-definition.

>From 
http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fr
etted-strings#predefined-fret-diagrams

"Like fret diagrams, chord shapes can be entered as either
fret-diagram-terse strings or fret-diagram-verbose marking lists."

>From 
http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fr
etted-strings#fret-diagram-markups

"Details about the syntax of the different markup strings used to define
fret diagrams are found at Instrument Specific Markup
."

>From 
http://lilypond.org/doc/v2.18/Documentation/notation/instrument-specific-ma
rkup

Syntax rules for definition-string:

* Strings are terminated by semicolons; the number of semicolons is the
number of strings in the diagram.
* Mute strings are indicated by Œx¹.
* Open strings are indicated by Œo¹.
* A number indicates a fret indication at that fret.
* If there are multiple fret indicators desired on a string, they should
be separated by spaces.
* Fingerings are given by following the fret number with a -, followed by
the finger indicator, e.g. Œ3-2¹ for playing the third fret with the
second finger.
* Where a barre indicator is desired, follow the fret (or fingering)
symbol with -( to start a barre and -) to end the barre.

Used properties:

* thickness (0.5)
* fret-diagram-details
* size (1.0)
* align-dir (-0.4)

In this same reference, there is also a description of
fret-diagram-verbose syntax.

Hope this helps,

Carl

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Re: Entering (lute) tablature

2017-03-19 Thread Werner LEMBERG


> Re font-embedding, the attached uses the characters you suggested
> above, 

Note that there is a fundamental problem with the transcription:
It's not clear how long accidentals are valid.  For such unmetered
music it probably makes most sense to always write accidentals.
A problematic place is for example bar 13, fourth quarter: the chord
must be , not .

Regardless of that, there is a typo.  A tablature rhythm indicator is
missing for the dotted chord in bar 22.


Werner

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