Re: Exited with return code -1073741819

[Bruce Daniel]

Just a bit more information.
The problem only occurs when I have two volta sections back to back.
Cheers, Bruce

On 31 March 2018 at 20:41, Bruce Daniel  wrote:

> Hi Lilypond users,
>
> I've come across a recurring problem with strophic songs I'm working on.
> It seems that beyond a certain level of complexity I get Exit. In the
> current example it's return code -1073741819, but it can be other codes.
>
> If the engrave fails, I can delete some words from one verse which allows
> me to add words to another verse. This suggests to me a limiting file size
> or level of complexity. I've had this problem now with 2 or 3 songs in a
> 20-song cycle I am working on. The strophic songs are complex in that there
> are lots of "splits" in the vocal line due to different scanning of the
> words in different verses.
>
> I am currently half a verse from the end of the last song and cannot
> manage to finish it! I admit to having no clue as to where the fault is
> coming from. Obviously a tiny example will not simulate it, so
> unfortunately I can only attach the whole song. You should find (I have
> tried this on 2 computers, both Windows 10) that adding a word or two to
> the last verse will cause the error. Then delete a word or two from the
> previous verse and it will work again.
>
> Any help you can give would be much appreciated; the project has been a
> lot of work and the finishing line is in sight!
>
> Lilypond version 2.16.0
>
> Best regards,
> Bruce Daniel
>
> PS: the effort to learn Lilypond was absolutely worth the effort. The joy
> of seeing these completed scores of Shubert's music I cannot describe; no
> other software comes close! Congratulations to all the developers.
>
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Re: OpenLilyLib with Windows

[foxfanfare]

Hi!

I'm a new user of Lilypond and I'm trying to figure out if this software
could answer my needs in term of score engraving! 

I'd like now to include the font bravura but I fear that I'm also stuck with
the same problems I read in this topic!

I also work with Windows 10, Lilypond 2.19.80 and Frescobaldi.

- Could someone please make a quick tutorial on how include the bravura
font?
- Is it necessary to work with openLilyLib or is it possible to do something
easier? I only succed to include other alternative free fonts made before by
tisimst.
- Is also SMuFL well implemented in Lilypond?

Thanks!





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Key Signature name in Markup

[brob2684]

Hi,

Just wondering if the following is possible or not, and am happy to be told
it's way too complex and not to bother.

Is it possible to extract the name of the first key signature in a piece
(single staff) after adjusting for any transposition to use in text markup?
(e.g. looking to get the phrase "C major" if there is no key signature
before the first note (i.e. default key)).

I have come across http://lsr.di.unimi.it/LSR/Item?id=856, but have no idea
where to even begin modifying it (some of the changes are obvious - I can
tell I don't need the rescaling bits, but I don't know enough
scheme/lilypond internals to work out how to change it to give me just
text).

If anyone has some pointers, they'd be much appreciated. If I'm trying to do
something a bit too foolish, let me know and I'll give up on that.

Thanks,
brob



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Re: OpenLilyLib with Windows

[Malte Meyn]

Am 31.03.2018 um 19:14 schrieb foxfanfare:

- Could someone please make a quick tutorial on how include the bravura
font?


Have a look at section 3.4.4 of the Notation Reference: 
http://lilypond.org/doc/v2.19/Documentation/notation/replacing-the-notation-font.html 
(this is the english version, not sure whether other languages have been 
updated yet). Does that help you?


The LilyPond-compatible version of Bravura is called Profondo, you can 
download it from https://github.com/OpenLilyPondFonts



- Is it necessary to work with openLilyLib or is it possible to do something
easier? I only succed to include other alternative free fonts made before by
tisimst.


No, it’s not necessary to use openLilyLib, just install the font files 
and then put something like


\paper {
  #(define fonts
(set-global-fonts
 #:music "profondo"
 #:brace "profondo"))
}

in your file. If you want to use set-global-staffsize, you have to do 
this before the \paper block and add another line:


#(set-global-staff-size 17)
\paper {
  #(define fonts
 (set-global-fonts
  #:music "profondo"
  #:brace "profondo"
  #:factor (/ staff-height pt 20)))
}


- Is also SMuFL well implemented in Lilypond?


Not yet, but hopefully this will be done soon (not before 2.20 tough 
probably). It’s one of the Google Summer of Code suggestions: 
http://lilypond.org/google-summer-of-code.html


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Re: 2.19.81 pitchedTrill ending on rest

[Malte Meyn]

Am 01.04.2018 um 06:37 schrieb Mark Stephen Mrotek:

I compiled

\version "2.19.80"

\relative c'' {
   g2 (\pitchedTrill a) \startTrillSpan bes
   r4\stopTrillSpan }

No warning! Check the version you are using.


I get the warning both with 2.19.80 and 2.19.81 (and with 2.18.2 and 
current master too).


If you just want to get rid of the warning, you could either expect it:

  #(ly:expect-warning "Ignoring grob for slur: TrillPitchAccidental")

or set avoid-slur to some value:

  \override TrillPitchAccidental.avoid-slur = #'inside

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Re: Exited with return code -1073741819

[Thomas Morley]

2018-03-31 23:13 GMT+02:00 Bruce Daniel :
> Just a bit more information.
> The problem only occurs when I have two volta sections back to back.
> Cheers, Bruce
>
> On 31 March 2018 at 20:41, Bruce Daniel  wrote:
>>
>> Hi Lilypond users,
>>
>> I've come across a recurring problem with strophic songs I'm working on.
>> It seems that beyond a certain level of complexity I get Exit. In the
>> current example it's return code -1073741819, but it can be other codes.
>>
>> If the engrave fails, I can delete some words from one verse which allows
>> me to add words to another verse. This suggests to me a limiting file size
>> or level of complexity. I've had this problem now with 2 or 3 songs in a
>> 20-song cycle I am working on. The strophic songs are complex in that there
>> are lots of "splits" in the vocal line due to different scanning of the
>> words in different verses.
>>
>> I am currently half a verse from the end of the last song and cannot
>> manage to finish it! I admit to having no clue as to where the fault is
>> coming from. Obviously a tiny example will not simulate it, so unfortunately
>> I can only attach the whole song. You should find (I have tried this on 2
>> computers, both Windows 10) that adding a word or two to the last verse will
>> cause the error. Then delete a word or two from the previous verse and it
>> will work again.
>>
>> Any help you can give would be much appreciated; the project has been a
>> lot of work and the finishing line is in sight!
>>
>> Lilypond version 2.16.0
>>
>> Best regards,
>> Bruce Daniel
>>
>> PS: the effort to learn Lilypond was absolutely worth the effort. The joy
>> of seeing these completed scores of Shubert's music I cannot describe; no
>> other software comes close! Congratulations to all the developers.



Hi Bruce,

your previous mssage was not distributed on the list, it can't be
found in the archives either.
Maybe the attachment was too large, so nobody can test.

That said, 2.16.0 is an ancient version you will not get much support.
According to
https://lists.gnu.org/archive/html/lilypond-user/2016-11/msg00564.html
the problem may be fixed since 2.19.48.
So I recommend to use an up to date version.
Most recent is 2.19.81


Cheers,
  Harm

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Re: Key Signature name in Markup

[Thomas Morley]

2018-03-31 22:55 GMT+02:00 brob2684 :
> Hi,
>
> Just wondering if the following is possible or not, and am happy to be told
> it's way too complex and not to bother.
>
> Is it possible to extract the name of the first key signature in a piece
> (single staff) after adjusting for any transposition to use in text markup?
> (e.g. looking to get the phrase "C major" if there is no key signature
> before the first note (i.e. default key)).
>
> I have come across http://lsr.di.unimi.it/LSR/Item?id=856, but have no idea
> where to even begin modifying it (some of the changes are obvious - I can
> tell I don't need the rescaling bits, but I don't know enough
> scheme/lilypond internals to work out how to change it to give me just
> text).
>
> If anyone has some pointers, they'd be much appreciated. If I'm trying to do
> something a bit too foolish, let me know and I'll give up on that.
>
> Thanks,
> brob



Hi,

obviously I don't understand what you want.
Could you explain why the lsr-snippet doesn't fit your needs?
May be some (not working) pseude-code with the syntax you want to use
may be helpful as well.

Cheers,
  Harm

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Problem with \ottava #-1

[Robert Blackstone]

Dear all,

I have been transcribing some piano pieces, with two voices in each staff. 
In the lower staff some of the notes reach down very far, and have many 
auxiliary lines. For easier readability I have made a version with \ottava #-1 
for the lowest notes in the lowest voice, voice 5.
But something strange happened. This \ottava #-1 also changed the  notes of 
voice 4, the upper voice of the lower staff.
I have not been able to reproduce this effect in a ME, which works perfectly, 
as seen in this snippet

%%%

\version "2.19.81.1" 
PartPFourVoiceOne = {\clef "bass" \key c \minor \time 9/8


d'8 \rest 8^\markup {the original}( [ as8 ]  g8) [ bes8( f8 
] es4.)| %P4V1-16a
d8 \rest 8^\markup {the desired simplified}( [ as,8 ]  g,8) 
[ bes,8( f,8 ] es,4.)| %P4V1-16b
}
 PartPFiveVoiceOne = {\clef "bass" \key c \minor \time 9/8
 
 g,,2.~ g,,4.  | %P5V1-16
\tieDown\stemDown \ottava #-1 g,,2.~ g,,4. \ottava #0 | %P5V1-16
}
\score {
\new Staff = "lower" 
<< 
\new  Voice = "PartPFourVoiceOne"  \PartPFourVoiceOne 
\new  Voice = "PartPFiveVoiceOne" \PartPFiveVoiceOne 

>>
}

%This is what I get in the real score (I faked it here) 

PartPFourVoiceOne = {\clef "bass" \key c \minor \time 9/8
d'8 \rest 8^\markup {this is what I get (faked here)}( [ as8 
]  g8) [ bes8( f8 ] es4.)| %P4V1-16a
%d8 \rest 8( [ as,8 ]  g,8) [ bes,8( f,8 ] es,4.)| %P4V1-16b
}
 PartPFiveVoiceOne = {\clef "bass" \key c \minor \time 9/8
 
 %g,,2.~ g,,4.  | %P5V1-16
\tieDown\stemDown \ottava #-1 g,,2.~ g,,4. \ottava #0 | %P5V1-16
}

\score {
\new Staff = "lower" 
<< 
\new  Voice = "PartPFourVoiceOne"  \PartPFourVoiceOne 
\new  Voice = "PartPFiveVoiceOne" \PartPFiveVoiceOne 

>>
}

%%%

Does anybody know, or suspect what could be the cause of this aberration?

Thanks in advance for any advice or suggestion.

Best regards, 

Robert Blackstone
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Re: Problem with \ottava #-1

[Malte Meyn]

Am 01.04.2018 um 12:17 schrieb Robert Blackstone:

But something strange happened. This \ottava #-1 also changed the  notes of 
voice 4, the upper voice of the lower staff.


That’s not so strange … see my explanation below.


I have not been able to reproduce this effect in a ME, which works perfectly, 
as seen in this snippet


Is it really that hard to make a minimal example? I mean, you could have 
used less notes, no time and key signature, no slurs etc. Here is a much 
smaller example which also shows the solution:


%%%
\version "2.19.81"

four = {
  \clef bass
  b1^"original"
  b,^"desired"
  \set Voice.middleCPosition = 6
  b^"reality"
}

five = {
  \clef bass
  g,,1
  \ottava -1 g,,
  g,,
}

\new Staff <<
  \new Voice \four
  \new Voice \five
>>
%%%


Does anybody know, or suspect what could be the cause of this aberration?

Thanks in advance for any advice or suggestion.


In traditional notation, ottava brackets (almost) always affect the 
whole staff. There are counterexamples but that can be read only from 
context (f. e. cross-staff chords in the left hand while the right hand 
has an ottava bracket).


I would strongly suggest either to look for another possible notation 
(f. e. use a third staff, put the upper voice in the upper staff, or 
don’t use an ottava here because three ledger lines aren’t that much for 
piano) or to add a “loco” sign at the upper voice.


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Re: Problem with \ottava #-1

[Malte Meyn]

Am 01.04.2018 um 12:54 schrieb Malte Meyn:


I would strongly suggest either to look for another possible notation 
(f. e. use a third staff, put the upper voice in the upper staff, or 
don’t use an ottava here because three ledger lines aren’t that much for 
piano) or to add a “loco” sign at the upper voice.


I forgot another possible notation: if the lower voice has only few 
notes as in your example, you could write “8vb” without a bracket.


Here are all three suggestions for both voices on one staff, this time 
with your original example code: (the exact usage of \voiceOne, \stemUp, 
\slurNeutral etc. should be checked in context)


%m
\version "2.19.81"

PartPFourVoiceOne = {
  \clef "bass" \key c \minor \time 9/8

  % m. 1
  \once \voiceOne r8 8( [ as8 ]  g8) [ bes8( f8 ] es4.)| 
%P4V1-16a


  % m. 2
  \voiceOne \slurNeutral \set Voice.middleCPosition = 6
  r8-\tweak X-offset -0.5 -\markup \italic "loco" 8( [ as8 ] 
 g8) [ bes8( f8 ] es4.)| %P4V1-16b


  % m. 3
  \voiceOne \slurNeutral
  r8 8( [ as8 ]  g8) [ bes8( f8 ] es4.)| %P4V1-16b
}
PartPFiveVoiceOne = {
  \clef "bass" \key c \minor \time 9/8

  % m. 1
  \voiceTwo
  g,,2.~ g,,4.  | %P5V1-16

  % m. 2
  \voiceTwo
  \ottava #-1 g,,2.~ g,,4. \ottava #0 | %P5V1-16

  % m. 3
  \voiceTwo \set Voice.middleCPosition = 13
  g,,2.~-\markup \italic "8vb" g,,4. | %P5V1-16
}
\score {
  \new Staff = "lower"
  <<
\new  Voice = "PartPFourVoiceOne"  \PartPFourVoiceOne
\new  Voice = "PartPFiveVoiceOne" \PartPFiveVoiceOne
  >>
}

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Re: Problem with \ottava #-1

[Andrew Bernard]

Hi Robert,

By tradition, an ottava mark affects all the voices. If you only want to
affect one - perfectly reasonable actually - Malte has show how to do it.
But it's well known and LSR has a snippet.

http://lsr.di.unimi.it/LSR/Item?id=875

I use that technique often. But it is a very good question.

Andrew
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Re: OpenLilyLib with Windows

[foxfanfare]

Thank you for your quick answer! I allready read this notation reference
page, but I was confused with other articles wich refered to this
openLilyLib stuff...

When I applied your settings  with #(set-global-staff-size 17)  and later
#:factor (/ staff-height pt 20), I find the result a bit strange as all the
music seems to be smaller. Is it the same to put something like :

#(set-global-staff-size 20) / #:factor (/ staff-height pt 22.5) ?

As I said, I started with LP last week and I think I like this software more
and more. I used Sibelius those last years and I was going to buy Dorico but
I thought I could give a try to LP first. And for now I don't regret it!

The fact is that I made in Siblius a well balanced house-style (very
Henle...) with help of all engraving rules options. I feel allready quite
confortable working with text-input on LP in order to write the music, but
creating a new house-style here is very challenging for me! 

For instance I feel like note-heads and stems aren't very well positioned
together... Even with the profondo-default.ily. But a LOT of things would
need some settings to fit my taste (default shape of slurs, lines thickness,
beams damping, ...).

I saw that part of the google summer project you spoke about was mentioning
this house-style thing (Support for Style Sheets). Can I find somewhere some
tutorials or codes in a LP custom score that I could start to work with?



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Re: Problem with \ottava #-1

[Robert Blackstone]

Hi Andrew, Hi Malte,

Many thanks for your quick reply and for the help. 

First of all my apologies for my  "not-minimai"-example. I just copied and 
pasted a bar from the real work, for sometimes my ME's do not show my problem. 
A bit of laziness too, I confess.

But here my "not-minimai"-example indeed does not show my problem  and I had to 
actually fake the effect by raising the notes of the upper voice by an octave 
in the third bar. 
And it still puzzles me why it, the raising by an octave of the upper voice in 
the staff, did happen in the real score and not in this test example.

And I had never before seen this effect, \ottava  working on all voices in a 
Staff. But this was the first time I used \ottava #-1.

Anyway, you have supplied me with enough tools to avoid this problem next time.

Thanks again,

Best regards,

On 1 Apr 2018, at 13:21 , Andrew Bernard  wrote:

> Hi Robert,
> 
> By tradition, an ottava mark affects all the voices. If you only want to 
> affect one - perfectly reasonable actually - Malte has show how to do it. But 
> it's well known and LSR has a snippet.
> 
> http://lsr.di.unimi.it/LSR/Item?id=875
> 
> I use that technique often. But it is a very good question.
> 
> Andrew
> 
> 

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Re: OpenLilyLib with Windows

[Stefano Troncaro]

Hi foxfanfare,

First of all welcome to the Lilypond world! AFAIK you would create a
style-sheet by creating a file with a layout block that contains the
settings for your house-style, and then you include that file in all the
projects where that house-style is needed. That's the easy part. Filling it
with the proper settings is the tough part. Finding the proper parameter to
tweak can be a challenge, don't hesitate to write to the list with an
example of the output you are getting and what you wish you were getting.
It'll take some time an effort but you'll get there!

Also, there are many .ly files available in the Mutopia Project
. You can search a few that has notation
that interests you and how it was achieved.

Hope that helps!
Stéfano

2018-04-01 10:48 GMT-03:00 foxfanfare :

> Thank you for your quick answer! I allready read this notation reference
> page, but I was confused with other articles wich refered to this
> openLilyLib stuff...
>
> When I applied your settings  with #(set-global-staff-size 17)  and later
> #:factor (/ staff-height pt 20), I find the result a bit strange as all the
> music seems to be smaller. Is it the same to put something like :
>
> #(set-global-staff-size 20) / #:factor (/ staff-height pt 22.5) ?
>
> As I said, I started with LP last week and I think I like this software
> more
> and more. I used Sibelius those last years and I was going to buy Dorico
> but
> I thought I could give a try to LP first. And for now I don't regret it!
>
> The fact is that I made in Siblius a well balanced house-style (very
> Henle...) with help of all engraving rules options. I feel allready quite
> confortable working with text-input on LP in order to write the music, but
> creating a new house-style here is very challenging for me!
>
> For instance I feel like note-heads and stems aren't very well positioned
> together... Even with the profondo-default.ily. But a LOT of things would
> need some settings to fit my taste (default shape of slurs, lines
> thickness,
> beams damping, ...).
>
> I saw that part of the google summer project you spoke about was mentioning
> this house-style thing (Support for Style Sheets). Can I find somewhere
> some
> tutorials or codes in a LP custom score that I could start to work with?
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
> ___
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Upline articulation

[Andrew Bernard]

I need a custom articulation common in 18 c scores which is a short
vertical line above the note. I have the following code which works just
fine:

upline =
#(let ((m (make-articulation "stopped")))
   (set! (ly:music-property m 'tweaks)
 (acons 'font-size 3
   (acons 'stencil (lambda (grob)
 (grob-interpret-markup
  grob
  (make-draw-line-markup '(0 . 1
 (ly:music-property m 'tweaks
   m)

I cannot recall where I obtained this code from. But I want to have the
line thicker. I don't know how to modify this. Grepping the lilypond
installation I am unable to find the function make-draw-line-markup. Where
does that come from? Can I use another function that takes a thickness as
an additional parameter?

Andrew
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Re: OpenLilyLib with Windows

[foxfanfare]

Thank you for your answer! It is also wonderful to see such an active
community!
I guess I'll have to learn a lot more by reading all the notation guide
before bothering everybody!



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Links to version 2.19.81-1 binaries

[David Sumbler]

As a preliminary to getting back to Lilypond and embarking on a large
new project, I thought I would install the latest version.  (My current
version is 2.19.48).

I visited http://lilypond.org/development.html only to find that none
of the links to binaries function as expected, e.g.
http://download.linuxaudio.org/lilypond/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh
gives a "Not Found" error.  Looking at the relevant directory shows
that the latest version there is lilypond-2.19.80-1, dated 16th October
2017.

For a few moments I though that perhaps 2.19.80-1 was the latest
version usable by non-developers; but then I reasoned that having non-
functioning links cannot surely be intentional, so there must be some
other explanation.

Is this a temporary blip, or should I use the earlier version?

David

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Re: OpenLilyLib with Windows

[Andrew Bernard]

Hi @foxfanfare,

I feel sure somebody on the list has made a Henle piano music style sheet.
Kieran?

Amusingly, the thing I like most about lilypond is that out of the box with
no tweaking it looks nothing like Henle Verlag editions. :-)

But I understand people are fond of Henle - it's what they grew up with,
spending countless hours in front of it at the piano.


Andrew


On 1 April 2018 at 23:48, foxfanfare  wrote:

>
> The fact is that I made in Siblius a well balanced house-style (very
> Henle...) with help of all engraving rules options. I feel allready quite
> confortable working with text-input on LP in order to write the music, but
> creating a new house-style here is very challenging for me!
>
>
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Re: Upline articulation

[Malte Meyn]

Am 01.04.2018 um 17:00 schrieb Andrew Bernard:
I cannot recall where I obtained this code from. But I want to have the 
line thicker. I don't know how to modify this. Grepping the lilypond 
installation I am unable to find the function make-draw-line-markup. 
Where does that come from? Can I use another function that takes a 
thickness as an additional parameter?


The function make-draw-line-markup is the markup command draw-line that 
can be used as

#(make-draw-line-markup '(0 . 1))
or
\markup \draw-line #'(0 . 1)
or
#(markup #:draw-line '(0 . 1)
Same for all other markup commands.

So you can just replace the line
(make-draw-line-markup '(0 . 1)))
in your original code by
(make-override-markup '(thickness . 3)
  (make-draw-line-markup '(0 . 1)
or by
(markup #:override '(thickness . 3)
  #:draw-line '(0 . 1
or by
#{ \markup \override #'(thickness . 3)
 \draw-line #'(0 . 1) #}))


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Re: Links to version 2.19.81-1 binaries

[Malte Meyn]

Am 01.04.2018 um 17:22 schrieb David Sumbler:

Is this a temporary blip, or should I use the earlier version?


I think it’s a known problem but you can download it from here:

http://lilypond.org/downloads/
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh

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Re: OpenLilyLib with Windows

[Malte Meyn]

Am 01.04.2018 um 15:48 schrieb foxfanfare:


When I applied your settings  with #(set-global-staff-size 17)  and later
#:factor (/ staff-height pt 20), I find the result a bit strange as all the
music seems to be smaller. Is it the same to put something like :

#(set-global-staff-size 20) / #:factor (/ staff-height pt 22.5) ?


#(set-global-staff-size X) does what its name says: it changes the 
global staff size from 20pt (LilyPond’s default value) to whatever X is.


#:factor is then needed because the font has to be scaled to this new 
staff size.


If you don’t want to change the staff size you won’t need those two things.

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Re: Bruhns "big" e-minor prelude

[Ali Cuota]

Hello to all,

yes, this archive.org is great. Many thanks. I just discovered a pdf
from Harald Vogel that explains why this Prelude is so contrasting
(Orfeo in music - according to the theory of affects). This makes it
even more interesting. Actually I am wirting much more than
publishing, since I dont have internet home. I will then publish it in
IMSLP. Maybe I will give a try to Mutopia too...

Felix Domenica or smthg like that,

Francois 

  http://www.avg.com/email-signature?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail";
target="_blank">https://ipmcdn.avast.com/images/icons/icon-envelope-tick-green-avg-v1.png";
alt="" width="46" height="29" style="width: 46px; height: 29px;"
/>
Libre de virus. http://www.avg.com/email-signature?utm_medium=email&utm_source=link&utm_campaign=sig-email&utm_content=webmail";
target="_blank" style="color: #4453ea;">www.avg.com 




2018-03-29 21:23 GMT-05:00, Simon Albrecht :
> On 30.03.2018 01:21, Karlin High wrote:
>> On 3/29/2018 3:16 PM, Ali Cuota wrote:
>>> in IMSLP the big e-minor prelude from Nikolaus Bruhns exists in pdf,
>>> with a reference to Mutopiaproject. In Mutopia, Bruhns ist not
>>> (anymore) in the composers list.
>>
>>
>>> I would be happy to have the source file if possible.
>>
>> Archive.org is an amazing service!
>>
>> 
>>
>>
>
> So is convert-ly: version 1.3.117->2.19.80 worked pretty well.
> And then I did a run of Frescobaldi’s (python-ly’s) auto-formatting, and
> corrected a whole lot of things manually, but just in terms of coding:
> \new instead of \context
> use \voiceXXX commands
> remove unnecessary overrides
> use \tempo instead of \mark "Adagio" &c.
> And lastly I took the single liberty of correcting g natural in m.12 to
> g sharp – I’m quite certain that that’s a typo.
>
> What I did not fix:
> Unnecessary R R R instead of R*x
> Unnecessarily complicated durations like R1*24/16
>
> That would be an important step before recontributing to Mutopia.
>
> Also, I made no changes to staff distribution &c.
>
> Best, Simon
>

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Haydn Symphony No. 13 - Lilypond sources

[Lukas-Fabian Moser]

Hello everybody,

probably this is a very stupid question (the answer being "obviously 
not"), but I'll try my luck nevertheless:


Petrucci library holds complete parts for Haydn's 13th symphony, typeset 
by user ViolonisteAmateur using Lilypond 2.10.33 back in 2009, under CC 
BY 3.0.

http://imslp.org/wiki/Symphony_No.13_in_D_major,_Hob.I:13_(Haydn,_Joseph)

Unfortunately, there are quite a few slight errors in these parts (wrong 
notes etc.); obviously the way to go and benefit humanity ;-) would be 
to correct the files and re-upload them.


Again unfortunately, the uploader did not supply Lilypond source files.

So: Is there any way one could obtain the sources? Since I'm quite 
certain there is no "technical" way of extracting/reconstructing the 
source, the question probably should read: Does anybody happen to know 
the uploader or have an idea how (s)he could be contacted? (I already 
tried IMSLP's user talk page, but no answer so far.)


Best
Lukas

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RE: Haydn Symphony No. 13 - Lilypond sources

[Mark Stephen Mrotek]

Lukas-Fabian,

 

Looking at the site I saw that the PDF had been scanned. The score does not 
appear, at least to me, to have been set with Lilypond.

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Lukas-Fabian Moser
Sent: Sunday, April 01, 2018 11:10 AM
To: lilypond-user 
Subject: Haydn Symphony No. 13 - Lilypond sources

 

Hello everybody,

probably this is a very stupid question (the answer being "obviously not"), but 
I'll try my luck nevertheless:

Petrucci library holds complete parts for Haydn's 13th symphony, typeset by 
user ViolonisteAmateur using Lilypond 2.10.33 back in 2009, under CC BY 3.0.
http://imslp.org/wiki/Symphony_No.13_in_D_major,_Hob.I:13_(Haydn,_Joseph)

Unfortunately, there are quite a few slight errors in these parts (wrong notes 
etc.); obviously the way to go and benefit humanity ;-) would be to correct the 
files and re-upload them.

Again unfortunately, the uploader did not supply Lilypond source files.

So: Is there any way one could obtain the sources? Since I'm quite certain 
there is no "technical" way of extracting/reconstructing the source, the 
question probably should read: Does anybody happen to know the uploader or have 
an idea how (s)he could be contacted? (I already tried IMSLP's user talk page, 
but no answer so far.)

Best
Lukas

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Re: Haydn Symphony No. 13 - Lilypond sources

[Lukas-Fabian Moser]

Mark,

thanks for checking! I'm sorry, the link I gave was to the symphony's 
main page (where you found the full score), not the tab containing the 
Lilypond-made parts (I didn't know one could give this as a direct link):


http://imslp.org/wiki/Symphony_No.13_in_D_major,_Hob.I:13_(Haydn,_Joseph)#tabScore2

Lukas

Am 01.04.2018 um 20:41 schrieb Mark Stephen Mrotek:


Lukas-Fabian,

Looking at the site I saw that the PDF had been scanned. The score 
does not appear, at least to me, to have been set with Lilypond.


Mark

*From:*lilypond-user 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf 
Of *Lukas-Fabian Moser

*Sent:* Sunday, April 01, 2018 11:10 AM
*To:* lilypond-user 
*Subject:* Haydn Symphony No. 13 - Lilypond sources

Hello everybody,

probably this is a very stupid question (the answer being "obviously 
not"), but I'll try my luck nevertheless:


Petrucci library holds complete parts for Haydn's 13th symphony, 
typeset by user ViolonisteAmateur using Lilypond 2.10.33 back in 2009, 
under CC BY 3.0.
http://imslp.org/wiki/Symphony_No.13_in_D_major,_Hob.I:13_(Haydn,_Joseph) 



Unfortunately, there are quite a few slight errors in these parts 
(wrong notes etc.); obviously the way to go and benefit humanity ;-) 
would be to correct the files and re-upload them.


Again unfortunately, the uploader did not supply Lilypond source files.

So: Is there any way one could obtain the sources? Since I'm quite 
certain there is no "technical" way of extracting/reconstructing the 
source, the question probably should read: Does anybody happen to know 
the uploader or have an idea how (s)he could be contacted? (I already 
tried IMSLP's user talk page, but no answer so far.)


Best
Lukas



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Re: Upline articulation

[Thomas Morley]

2018-04-01 18:11 GMT+02:00 Malte Meyn :
>
>
> Am 01.04.2018 um 17:00 schrieb Andrew Bernard:
>>
>> I cannot recall where I obtained this code from. But I want to have the
>> line thicker. I don't know how to modify this. Grepping the lilypond
>> installation I am unable to find the function make-draw-line-markup. Where
>> does that come from? Can I use another function that takes a thickness as an
>> additional parameter?
>
>
> The function make-draw-line-markup is the markup command draw-line

If I understand correctly, that's not entirely correct.

In general, a markup-command is done by the macro `define-markup-command'.
We get two procedures from it, in this case: `draw-line-markup' and
`make-draw-line-markup'.

See:
#(format #t "\ndraw-line-markup:\n~y"
draw-line-markup)
#(format #t "\nmake-draw-line-markup:\n~y"
make-draw-line-markup)

As you can see from the displayed results `draw-line-markup' needs
three arguments. Two of them are the default `layout' and `props'
`make-draw-line-markup' only one. The default ones are already done.

That's the reason why we can do
$(make-draw-line-markup '(0 . 1)) without anything else.

Using `draw-line-markup' would need to have those defaults arguments supplied.
In ly-syntax this automatically happens while doing
\markup \draw-line ...
But it's possible to use 'draw-line-markup' directly:
{
  \override Beam.stencil =
  #(draw-line-markup
$defaultpaper
(list (ly:output-def-lookup $defaultpaper 'text-font-defaults))
'(1 . 1))

c'8[]
}
A little strange and inconvenient, but possible...

So I think it's important to know that while using
`make-draw-line-markup' we use a procedure.
Whereas $(markup #:draw-line '(0 . 1)) will be transformed.
Makes a difference for some involved scheme-coding...

That said, for the most use-cases below is fine and doable:

> that can
> be used as
> #(make-draw-line-markup '(0 . 1))
> or
> \markup \draw-line #'(0 . 1)
> or
> #(markup #:draw-line '(0 . 1)
> Same for all other markup commands.
>
> So you can just replace the line
> (make-draw-line-markup '(0 . 1)))
> in your original code by
> (make-override-markup '(thickness . 3)
>   (make-draw-line-markup '(0 . 1)
> or by
> (markup #:override '(thickness . 3)
>   #:draw-line '(0 . 1
> or by
> #{ \markup \override #'(thickness . 3)
>  \draw-line #'(0 . 1) #}))

Cheers,
  Harm

P.S. I hope I made myself clear, not that easy for me to explain
complex stuff as a non-native speaker.

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Edition Engraver, TieColums and line breaks

[Stefano Troncaro]

Hi all!

I currently have a function that accesses some grobs through their
"containers"(NoteHeads/Accidentals in NoteColumns, Ties in TieColumns) and
lets me tweak properties (individually if needed) of each. This is done in
a single override so it works with the Edition Engraver. But I've come up
with a situation which I don't know how to handle.

I just noticed that when a Tie (or Ties) crosses a line break, two
TieColumns are generated, one containing each "half". See:

> \version "2.19.80"
> inspectTies =
> #(define-music-function (example-name) (string?)
>#{ \override TieColumn.before-line-breaking =
>   #(lambda (tc)
>  (let ((ties (ly:grob-object tc 'ties)))
>(pretty-print (format "~a, before line breaking: ~a" example-name 
> ties
>   \override TieColumn.after-line-breaking =
>   #(lambda (tc)
>  (let ((ties (ly:grob-object tc 'ties)))
>(pretty-print (format "~a, after line breaking: ~a" example-name 
> ties #} )
> \score {
>   \relative c'' {
> 1~ \break |
> \inspectTies "With a chord" q
>   }
> }
> \score {
>   \relative c'' {
> c1~ \break |
> \inspectTies "With a note" c
>   }
> }
> \score {
>   \relative c'' {
> c1~ |
> \inspectTies "With a note and no line breaking" c
>   }
> }
>
>
>
Gives the following output in the Lilypond Log:

> "With a chord, before line breaking: # #
> # >"
>
> "With a note, before line breaking: # >"
>
> "With a note and no line breaking, before line breaking:
> # >"
>
> "With a chord, after line breaking: # #
> # >"
>
> "With a chord, after line breaking: # #
> # >"
>
> "With a note, after line breaking: # >"
>
> "With a note, after line breaking: # >"
>
> "With a note and no line breaking, after line breaking: # Tie > >"
>

Since both TieColumns seem to exist in the same moment, how can I
differentiate between the two? More specifically, how can I make sure that
I'm in the TieColumn that is on the second system?

Say, for instance, that I want to get to the ties contained in a TieColumn
and modify some properties. Getting to the Ties that are on the end of the
first system is easy because I can do that through
TieColumn.before-line-breaking, which takes effect before the Ties are
"split". But how can I make sure I'm in the second one? I don't know what
property I could check.

Any help would be greatly appreciated!
Stéfano
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Re: Key Signature name in Markup

[brob2684]

Thomas Morley-2 wrote
> 2018-03-31 22:55 GMT+02:00 brob2684 <

> bennrobertson@

> >:
>>
>> Is it possible to extract the name of the first key signature in a piece
>> (single staff) after adjusting for any transposition to use in text
>> markup?
>> (e.g. looking to get the phrase "C major" if there is no key signature
>> before the first note (i.e. default key)).
>>
>> I have come across http://lsr.di.unimi.it/LSR/Item?id=856, but have no
>> idea
>> where to even begin modifying it (some of the changes are obvious - I can
>> tell I don't need the rescaling bits, but I don't know enough
>> scheme/lilypond internals to work out how to change it to give me just
>> text).
>>
> 
> Hi,
> 
> obviously I don't understand what you want.
> Could you explain why the lsr-snippet doesn't fit your needs?
> May be some (not working) pseude-code with the syntax you want to use
> may be helpful as well.

The snippet works insofar as it gives me the name of each key signature,
which is very close to what I want. However, I'm only interested in storing
the name of the first key in the piece in a variable to use in text later,
rather than displaying the name of each key when the key signature changes.

I can deduce that the last three lines of the snippet (below) are
responsible for printing the name of the key signature above the stave at
each key change. 

(ly:grob-set-property! grob 'stencil
  (ly:stencil-combine-at-edge key-sig-stencil 1 1
key-name-scaled padd))

What I would like to do is change this somehow to set a variable to the "key
signature name". 

I suspect what I need to do is remove the three lines above and replace them
with some sort of command that first tests whether the "key signature name"
variable been set; if yes then do nothing (to prevent overriding the
variable), else set the "key signature name" variable to the name of the key
signature.

At some later point in markup, I'd like to be able to reference the "key
signature variable", e.g.

melody = \relative c'' {
  \time 4/4
  c1 \key d \major d \key e \major e \key f \major f
}

\score {
\new Staff { \melody }
}

\markup { Some text later that states that the first key in the piece is in
*\key_signature_name* }

and have the text say "Some text later that states that the first key in the
piece is in *C major*".







--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Key Signature name in Markup

[Thomas Morley]

2018-04-01 22:25 GMT+02:00 brob2684 :
> Thomas Morley-2 wrote
>> 2018-03-31 22:55 GMT+02:00 brob2684 <
>
>> bennrobertson@
>
>> >:
>>>
>>> Is it possible to extract the name of the first key signature in a piece
>>> (single staff) after adjusting for any transposition to use in text
>>> markup?
>>> (e.g. looking to get the phrase "C major" if there is no key signature
>>> before the first note (i.e. default key)).
>>>
>>> I have come across http://lsr.di.unimi.it/LSR/Item?id=856, but have no
>>> idea
>>> where to even begin modifying it (some of the changes are obvious - I can
>>> tell I don't need the rescaling bits, but I don't know enough
>>> scheme/lilypond internals to work out how to change it to give me just
>>> text).
>>>
>>
>> Hi,
>>
>> obviously I don't understand what you want.
>> Could you explain why the lsr-snippet doesn't fit your needs?
>> May be some (not working) pseude-code with the syntax you want to use
>> may be helpful as well.
>
> The snippet works insofar as it gives me the name of each key signature,
> which is very close to what I want. However, I'm only interested in storing
> the name of the first key in the piece in a variable to use in text later,
> rather than displaying the name of each key when the key signature changes.
>
> I can deduce that the last three lines of the snippet (below) are
> responsible for printing the name of the key signature above the stave at
> each key change.
>
> (ly:grob-set-property! grob 'stencil
>   (ly:stencil-combine-at-edge key-sig-stencil 1 1
> key-name-scaled padd))
>
> What I would like to do is change this somehow to set a variable to the "key
> signature name".
>
> I suspect what I need to do is remove the three lines above and replace them
> with some sort of command that first tests whether the "key signature name"
> variable been set; if yes then do nothing (to prevent overriding the
> variable), else set the "key signature name" variable to the name of the key
> signature.
>
> At some later point in markup, I'd like to be able to reference the "key
> signature variable", e.g.
>
> melody = \relative c'' {
>   \time 4/4
>   c1 \key d \major d \key e \major e \key f \major f
> }
>
> \score {
> \new Staff { \melody }
> }
>
> \markup { Some text later that states that the first key in the piece is in
> *\key_signature_name* }
>
> and have the text say "Some text later that states that the first key in the
> piece is in *C major*".



Hi,

thanks for clarification.

I thought a bit about it and I think it might be possible to store the
initial key-signature-name and let TextScript get this name under
certain conditions.
Though, what to do if _no_ KeySignature is present?
Could be c-major or a-minor or e-phrygian or maybe nothing of it but
rather dodecaphonism or ...
How to decide?

Best would be to output something like "no KeySignature present", imho.

What do you think?


Cheers,
  Harm

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Re: Upline articulation

[Andrew Bernard]

Hi Malte and Thomas,

This is all really great and appreciated.

But where are these functions located, or, dare I ask, documented?

Andrew


On 2 April 2018 at 04:54, Thomas Morley  wrote:

> 2018-04-01 18:11 GMT+02:00 Malte Meyn :
> >
> >
> > Am 01.04.2018 um 17:00 schrieb Andrew Bernard:
> >>
> >> I cannot recall where I obtained this code from. But I want to have the
> >> line thicker. I don't know how to modify this. Grepping the lilypond
> >> installation I am unable to find the function make-draw-line-markup.
> Where
> >> does that come from? Can I use another function that takes a thickness
> as an
> >> additional parameter?
> >
> >
> > The function make-draw-line-markup is the markup command draw-line
>
> If I understand correctly, that's not entirely correct.
>
> In general, a markup-command is done by the macro `define-markup-command'.
> We get two procedures from it, in this case: `draw-line-markup' and
> `make-draw-line-markup'.
>
> See:
> #(format #t "\ndraw-line-markup:\n~y"
> draw-line-markup)
> #(format #t "\nmake-draw-line-markup:\n~y"
> make-draw-line-markup)
>
> As you can see from the displayed results `draw-line-markup' needs
> three arguments. Two of them are the default `layout' and `props'
> `make-draw-line-markup' only one. The default ones are already done.
>
> That's the reason why we can do
> $(make-draw-line-markup '(0 . 1)) without anything else.
>
> Using `draw-line-markup' would need to have those defaults arguments
> supplied.
> In ly-syntax this automatically happens while doing
> \markup \draw-line ...
> But it's possible to use 'draw-line-markup' directly:
> {
>   \override Beam.stencil =
>   #(draw-line-markup
> $defaultpaper
> (list (ly:output-def-lookup $defaultpaper 'text-font-defaults))
> '(1 . 1))
>
> c'8[]
> }
> A little strange and inconvenient, but possible...
>
> So I think it's important to know that while using
> `make-draw-line-markup' we use a procedure.
> Whereas $(markup #:draw-line '(0 . 1)) will be transformed.
> Makes a difference for some involved scheme-coding...
>
> That said, for the most use-cases below is fine and doable:
>
> > that can
> > be used as
> > #(make-draw-line-markup '(0 . 1))
> > or
> > \markup \draw-line #'(0 . 1)
> > or
> > #(markup #:draw-line '(0 . 1)
> > Same for all other markup commands.
> >
> > So you can just replace the line
> > (make-draw-line-markup '(0 . 1)))
> > in your original code by
> > (make-override-markup '(thickness . 3)
> >   (make-draw-line-markup '(0 . 1)
> > or by
> > (markup #:override '(thickness . 3)
> >   #:draw-line '(0 . 1
> > or by
> > #{ \markup \override #'(thickness . 3)
> >  \draw-line #'(0 . 1) #}))
>
> Cheers,
>   Harm
>
> P.S. I hope I made myself clear, not that easy for me to explain
> complex stuff as a non-native speaker.
>
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Re: Key Signature name in Markup

[brob2684]

Hi Harm,

I hadn't really thought about no key signature as being an issue, but I can
certainly see how it can cause confusion.

I think you are correct in suggesting "no key signature present" would be
the appropriate output, although I'll admit I'm unlikely to ever come across
such a case in my use of lilypond.

Regards,
brob


Thomas Morley-2 wrote
> 2018-04-01 22:25 GMT+02:00 brob2684 <

> bennrobertson@

> >:
>> Thomas Morley-2 wrote
>>> 2018-03-31 22:55 GMT+02:00 brob2684 <
>>
>>> bennrobertson@
>>
>>> >:

 Is it possible to extract the name of the first key signature in a
 piece
 (single staff) after adjusting for any transposition to use in text
 markup?
 (e.g. looking to get the phrase "C major" if there is no key signature
 before the first note (i.e. default key)).

 I have come across http://lsr.di.unimi.it/LSR/Item?id=856, but have no
 idea
 where to even begin modifying it (some of the changes are obvious - I
 can
 tell I don't need the rescaling bits, but I don't know enough
 scheme/lilypond internals to work out how to change it to give me just
 text).

>>>
>>> Hi,
>>>
>>> obviously I don't understand what you want.
>>> Could you explain why the lsr-snippet doesn't fit your needs?
>>> May be some (not working) pseude-code with the syntax you want to use
>>> may be helpful as well.
>>
>> The snippet works insofar as it gives me the name of each key signature,
>> which is very close to what I want. However, I'm only interested in
>> storing
>> the name of the first key in the piece in a variable to use in text
>> later,
>> rather than displaying the name of each key when the key signature
>> changes.
>>
>> I can deduce that the last three lines of the snippet (below) are
>> responsible for printing the name of the key signature above the stave at
>> each key change.
>>
>> (ly:grob-set-property! grob 'stencil
>>   (ly:stencil-combine-at-edge key-sig-stencil 1 1
>> key-name-scaled padd))
>>
>> What I would like to do is change this somehow to set a variable to the
>> "key
>> signature name".
>>
>> I suspect what I need to do is remove the three lines above and replace
>> them
>> with some sort of command that first tests whether the "key signature
>> name"
>> variable been set; if yes then do nothing (to prevent overriding the
>> variable), else set the "key signature name" variable to the name of the
>> key
>> signature.
>>
>> At some later point in markup, I'd like to be able to reference the "key
>> signature variable", e.g.
>>
>> melody = \relative c'' {
>>   \time 4/4
>>   c1 \key d \major d \key e \major e \key f \major f
>> }
>>
>> \score {
>> \new Staff { \melody }
>> }
>>
>> \markup { Some text later that states that the first key in the piece is
>> in
>> *\key_signature_name* }
>>
>> and have the text say "Some text later that states that the first key in
>> the
>> piece is in *C major*".
> 
> 
> 
> Hi,
> 
> thanks for clarification.
> 
> I thought a bit about it and I think it might be possible to store the
> initial key-signature-name and let TextScript get this name under
> certain conditions.
> Though, what to do if _no_ KeySignature is present?
> Could be c-major or a-minor or e-phrygian or maybe nothing of it but
> rather dodecaphonism or ...
> How to decide?
> 
> Best would be to output something like "no KeySignature present", imho.
> 
> What do you think?
> 
> 
> Cheers,
>   Harm
> 
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> lilypond-user mailing list

> lilypond-user@

> https://lists.gnu.org/mailman/listinfo/lilypond-user





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