Re: Defining custom symbols

[Andrew Bernard]

Hi Robert,

Hmm. I have played around with this a bit. I think if you are using safe
mode of necessity then you simply can't use lilypond for this use case.
Sooner or later you have to mix Lilypond and Scheme, and it is forbidden in
safe mode.

Transforming the code for the cut from the repo in question, I came up with
this:



\version "2.19.81"


#(define larsenSymbolsOutlineWidth 0.065)
#(define larsenSymbolsScale 1.5)
#(define larsenSymbolsOutlineWidth 0.065)

#(define larsenSymbolsHalignFactor (+ (* larsenSymbolsScale ( / 2 3 ) ) .15
))
#(define larsenSymbolsHalfSize (* .5 larsenSymbolsScale))
#(define larsenSymbolsFlipVertical (* -1 larsenSymbolsScale))

cutCoordinates =   #'(
   (.4 .9)
   (.55 .825)
   )

cutStencil =
\markup \halign #(/ -3 larsenSymbolsHalignFactor) \stencil
#(make-connected-path-stencil
  cutCoordinates
  larsenSymbolsOutlineWidth
  larsenSymbolsScale
  larsenSymbolsScale
  #t
  #t
  )

#(append! default-script-alist
   (list
`("cut"
   . (
   (text . ,#{ \cutStencil #})
   (stencil . ,ly:text-interface::print)
   ; any other properties
   (toward-stem-shift-in-column . 0.0)
   (padding . 0.20)
   (avoid-slur . around)
   (direction . ,UP)

%cut = #(make-articulation "cut")
#(define cut (make-articulation "cut"))

test = {
  \time 2/4
  c''2\cut
  c''
  c''\cut
}

\score {
  \new Staff \test
}


But under safe mode Guile throws errors, in accordance with the NR
statements.

At this point, we need to turn to greater experts than me. I am sure that
my posting this weak code above will stimulate somebody of greater
knowledge to show if this really is possible.

In the meantime, the set of Larsen ornamentation glyphs is a really nice
library if one is using it in a 'normal' context.

Andrew
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Ottava mark: edge dashed line

[foxfanfare]

Hi everyone,

I cannot figure why I cannot change the ottava mark as I'd like.

I am interested in using a dashed line, but also for the right edge, as
shown in this exemple: 
http://lilypond.org/doc/v2.18/Documentation/snippets-big-page.html#text-ottava-text

  

I don't understand why mine always appear filled!?

\version "2.19.80"

\relative c' {
  
  \override Staff.OttavaBracket.style = #'dashed-line
  \override Staff.OttavaBracket.dash-fraction = #0.2
  \override Staff.OttavaBracket.dash-period = #0.65
  \override Staff.OttavaBracket.thickness = #1.5
  \override Staff.OttavaBracket.edge-height = #'(0 . 1.5)
  
  \ottava #1
  \set Staff.ottavation = #"8"
  c'''1 a f
  
}

Also, how is it possible to align the top of the number with the line?

Thanks!



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Re: Ottava mark: edge dashed line

[foxfanfare]

Oh, I just found a clue to do that:

\version "2.19.80"

\relative c' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,UP)))
   (right . ((Y . 0) ; Change the integer here
 (padding . 0)
 (attach-dir . ,RIGHT)
 (text . ,(make-draw-dashed-line-markup (cons 0 -2.5))
 
  \override Staff.OttavaBracket.style = #'dashed-line
  \override Staff.OttavaBracket.dash-fraction = #0.2
  \override Staff.OttavaBracket.dash-period = #0.65
  \override Staff.OttavaBracket.thickness = #1.5
  \override Staff.OttavaBracket.left-bound-info =
 #ly:line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
 #ly:line-spanner::calc-right-bound-info
 
  \ottava #1
  \set Staff.ottavation = #"8"
  c'''1 a f
 
}

But now I struggle finding how to change the end corner dashed fraction... 



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Different time signature on different staff

[Ming Tsang]

Dear ponders,
My code did not produce the expecting of time 6/8 on the first staff.  
What shall I code to correct this.
Thanks,
Ming




Sent from Mail for Windows 10



the-spirit-of-life_test.ly
Description: Binary data
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Re: Different time signature on different staff

[Brian Barker]

At 11:17 16/04/2018 -0400, Ming Tsang wrote:
My code did not produce the expecting of time 6/8 on the first 
staff. What shall I code to correct this.


See "Different time signatures with equal-length measures" and 
"Different time signatures with unequal-length measures" under 
"Polymetric notation" at
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-rhythms#polymetric-notation 
.


Brian Barker  



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SVG enormous fonts issue

[Robert Hickman]

Fonts in SVG do not seem to respect font sizes, see attached SVG, for me
this displays with enormous fonts that go off the top of the page. It works
as intended in the PDF back end.

\version "2.18.2"
\include "larsen-symbols.ily"

\header {
  tagline = ""  % removed
}

\header {tagline = ""}

{
\numericTimeSignature
\time 3/8
g'4.\cut^\markup {\tiny Cut } | g'4.\strike^\markup {\tiny Strike } |
}
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Re: Different time signature on different staff

[Knut Petersen]

Hi Ming!

My code did not produce the expecting of time 6/8 on the first staff.

What shall I code to correct this.


After reading the manual location pointed out by Brian you might have a look
at my edition of Hugo Distles polymetric "Er ist's". PDF 
 and source 
code 


Knut
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Re: SVG enormous fonts issue

[Robert Hickman]

This issue seems to be Firefox specific. Other SVG examples, such as those
on w3schools, do not exhibit this issue in firefox.

On 16 April 2018 at 16:58, Robert Hickman  wrote:

> Fonts in SVG do not seem to respect font sizes, see attached SVG, for me
> this displays with enormous fonts that go off the top of the page. It works
> as intended in the PDF back end.
>
> \version "2.18.2"
> \include "larsen-symbols.ily"
>
> \header {
>   tagline = ""  % removed
> }
>
> \header {tagline = ""}
>
> {
> \numericTimeSignature
> \time 3/8
> g'4.\cut^\markup {\tiny Cut } | g'4.\strike^\markup {\tiny Strike } |
> }
>
>
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Re: SVG enormous fonts issue

[Noeck]

Your svg looks fine here.

Tested with firefox, thunderbird, eog on Ubuntu.

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Re: SVG enormous fonts issue

[Robert Hickman]

At least for now I'm giving up on this and using png images, if it isn't
displaying dependably for me it probably won't for some percentage of my
site users. Probably fixable with CSS but I can't be bothered to mess with
it, this has already taken way too long.

--

Seems to be related to firefox font scaling. I have my browser font set
larger as many pages are unreadable on this monitor without doing that. It
appears that crome does not apply browser font size to SVG while firefox
does.

I have also tested this using an SVG from abcm2ps and it also displays
fonts larger than intended, but not to the extent that lilypond files are.
abcm2ps is showing about 2x size, lilypond is more like 10x for some reason.

On 16 April 2018 at 17:19, Robert Hickman  wrote:

> This issue seems to be Firefox specific. Other SVG examples, such as those
> on w3schools, do not exhibit this issue in firefox.
>
> On 16 April 2018 at 16:58, Robert Hickman  wrote:
>
>> Fonts in SVG do not seem to respect font sizes, see attached SVG, for me
>> this displays with enormous fonts that go off the top of the page. It works
>> as intended in the PDF back end.
>>
>> \version "2.18.2"
>> \include "larsen-symbols.ily"
>>
>> \header {
>>   tagline = ""  % removed
>> }
>>
>> \header {tagline = ""}
>>
>> {
>> \numericTimeSignature
>> \time 3/8
>> g'4.\cut^\markup {\tiny Cut } | g'4.\strike^\markup {\tiny Strike } |
>> }
>>
>>
>
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Re: SVG enormous fonts issue

[Malte Meyn]

Am 16.04.2018 um 18:27 schrieb Noeck:

Your svg looks fine here.

Tested with firefox, thunderbird, eog on Ubuntu.


Looks good for my eom (the MATE equivalent of eog) but not for my 
firefox (59.0.1) on Manjaro.


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Consistent vertical alignment of annotations, disable time signiture

[Robert Hickman]

So far I have the result attached, which is close to what I want, but I
haven't found a clear example of how to get the two text annotations to
align vertically. I'd also like to move both up a bit.

If possible I also want to pad the gap between the first note and the bar,
so it is the same as the gap after the second note. I'd also like to remove
the time signature as it isn't needed in this example.
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Re: Consistent vertical alignment of annotations, disable time signiture

[Simon Albrecht]

On 16.04.2018 20:05, Robert Hickman wrote:
So far I have the result attached, which is close to what I want, but 
I haven't found a clear example of how to get the two text annotations 
to align vertically.


Try overriding TextScript.staff-padding – which will also move them up 
at appropriate values.



I'd also like to move both up a bit.

I'd also like to remove the time signature as it isn't needed in this 
example.


That’s easy: \omit TimeSignature ;-)

Best, Simon

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Re: Consistent vertical alignment of annotations, disable time signiture

[Malte Meyn]

Am 16.04.2018 um 20:39 schrieb Simon Albrecht:

On 16.04.2018 20:05, Robert Hickman wrote:
So far I have the result attached, which is close to what I want, but 
I haven't found a clear example of how to get the two text annotations 
to align vertically.


Try overriding TextScript.staff-padding – which will also move them up 
at appropriate values.



I'd also like to move both up a bit.

I'd also like to remove the time signature as it isn't needed in this 
example.


That’s easy: \omit TimeSignature ;-)


Depending on where this is placed, it has to be

\omit Staff.TimeSignature

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Re: Consistent vertical alignment of annotations, disable time signiture

[Robert Hickman]

\omit Staff.TimeSignature

Works correctly, I found variations on the following with google, which was
giving a syntax error:

\context { \Staff \omit TimeSignature}

I'm finding it quite difficult to find out how to do what I want to do with
lilypond.




On 16 April 2018 at 19:43, Malte Meyn  wrote:

>
>
> Am 16.04.2018 um 20:39 schrieb Simon Albrecht:
>
>> On 16.04.2018 20:05, Robert Hickman wrote:
>>
>>> So far I have the result attached, which is close to what I want, but I
>>> haven't found a clear example of how to get the two text annotations to
>>> align vertically.
>>>
>>
>> Try overriding TextScript.staff-padding – which will also move them up at
>> appropriate values.
>>
>> I'd also like to move both up a bit.
>>>
>>> I'd also like to remove the time signature as it isn't needed in this
>>> example.
>>>
>>
>> That’s easy: \omit TimeSignature ;-)
>>
>
> Depending on where this is placed, it has to be
>
> \omit Staff.TimeSignature
>
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Re: Consistent vertical alignment of annotations, disable time signiture

[Simon Albrecht]

On 16.04.2018 20:50, Robert Hickman wrote:

\omit Staff.TimeSignature

Works correctly, I found variations on the following with google, 
which was giving a syntax error:


\context { \Staff \omit TimeSignature }

I'm finding it quite difficult to find out how to do what I want to do 
with lilypond.


That’s why, as IIRC the website points out quite clearly, we always 
speak of the Learning Manual as a must-read. And that means sequentially 
and thoroughly, maybe more than once. True, getting started with 
LilyPond is hard at times, but if you follow that route, many 
frustrations will be saved. And of course I do think the effort is worth 
it :-)


Best, Simon

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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-16 13:17 GMT+02:00 foxfanfare :
> Hi everyone,
>
> I cannot figure why I cannot change the ottava mark as I'd like.
>
> I am interested in using a dashed line, but also for the right edge, as
> shown in this exemple:
> http://lilypond.org/doc/v2.18/Documentation/snippets-big-page.html#text-ottava-text
> 
>
> I don't understand why mine always appear filled!?
>
> \version "2.19.80"
[...]

Please always use the docs of your lily-version.
The link points to 2.18, but you're using 2.19.80

It was changed with

commit 0119c1b84108674cf2b1c72bd8c231d831ce1f0f
Author: Keith OHara 
Date:   Sun Aug 24 15:54:45 2014 -0700

Ottava Bracket bounds; issue 3690

Ottava Bracket: do not dash edges; issue 3866

Which is in the source since 2.19.14
See:
https://sourceforge.net/p/testlilyissues/issues/3866/
https://sourceforge.net/p/testlilyissues/issues/3690/


2018-04-16 13:39 GMT+02:00 foxfanfare :
> Oh, I just found a clue to do that:
>
> \version "2.19.80"
>
> \relative c' {
>   \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
>   \override Staff.OttavaBracket.bound-details =
> #`((left . ((Y . 0) ; Change the integer here
> (attach-dir . ,LEFT)
> (padding . 0)
> (stencil-align-dir-y . ,UP)))
>(right . ((Y . 0) ; Change the integer here
>  (padding . 0)
>  (attach-dir . ,RIGHT)
>  (text . ,(make-draw-dashed-line-markup (cons 0 -2.5))
>
>   \override Staff.OttavaBracket.style = #'dashed-line
>   \override Staff.OttavaBracket.dash-fraction = #0.2
>   \override Staff.OttavaBracket.dash-period = #0.65
>   \override Staff.OttavaBracket.thickness = #1.5
>   \override Staff.OttavaBracket.left-bound-info =
>  #ly:line-spanner::calc-left-bound-info-and-text
>   \override Staff.OttavaBracket.right-bound-info =
>  #ly:line-spanner::calc-right-bound-info
>
>   \ottava #1
>   \set Staff.ottavation = #"8"
>   c'''1 a f
>
> }
>
> But now I struggle finding how to change the end corner dashed fraction...

draw-line-markup has some properties you could use: on, off, probably
full-length (it's #t per default, meaning the dashed-line will be
scaled to full-fill the specified length, partly disregarding your
on/off-values) and thickness (thickness will default to 1 or the
grob's thickness)

\relative c' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,UP)))
   (right . ((Y . 0) ; Change the integer here
 (padding . 0)
 (attach-dir . ,RIGHT)
 (text .
   ;,(make-draw-dashed-line-markup (cons 0 -2.5))
   ,#{
  \markup
\override #'(full-length . #f)
\override #'(on . 0.2)
\override #'(off . 0.45)
\draw-dashed-line #'(0 . -4)
   #}


   

  \override Staff.OttavaBracket.style = #'dashed-line
  \override Staff.OttavaBracket.dash-fraction = #0.2
  \override Staff.OttavaBracket.dash-period = #0.65
  \override Staff.OttavaBracket.thickness = #1.5
  \override Staff.OttavaBracket.left-bound-info =
 #ly:line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
 #ly:line-spanner::calc-right-bound-info

  \ottava #1
  \set Staff.ottavation = #"8"

  c'''1 a
  f
}


HTH,
  Harm

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Re: Ottava mark: edge dashed line

[Noeck]

Nice. I still thought that this is impossible as it was some time ago (3
years?).

Is it feasible to align the dots (if I set the dash length to 0) such
that there is exactly one dot in the top right corner? I.e. start the
horizontal dotted line from the right end? Then it would be perfect.

Joram

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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-16 22:07 GMT+02:00 Noeck :
> Nice. I still thought that this is impossible as it was some time ago (3
> years?).
>
> Is it feasible to align the dots (if I set the dash length to 0) such
> that there is exactly one dot in the top right corner? I.e. start the
> horizontal dotted line from the right end? Then it would be perfect.

If you use dotted-lines the result could be:

\relative c' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,UP)))
   (right . ((Y . 0) ; Change the integer here
 (padding . 0)
 (attach-dir . ,RIGHT)
 (text .
   ,#{
  \markup
\override #'(full-length . #f)
\override #'(off . 0.15)
\draw-dotted-line #'(0 . -4)
   #}

  \override Staff.OttavaBracket.style =
#'dotted-line
  \override Staff.OttavaBracket.dash-period = #0.4
  \override Staff.OttavaBracket.thickness = #1.5
  \override Staff.OttavaBracket.left-bound-info =
 #ly:line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
 #ly:line-spanner::calc-right-bound-info

  \ottava #1
  \set Staff.ottavation = #"8"

  c'''1 a
  f

}


Though, my pdf-viewers present me different results.

With Foxit Reader there's exact one dot at top right.
With evince it looks like the dotted line is half of own thickness
displaced (if other than default-thickness is used).
I'm not really sure with evince, though. Evince can't do more than
400% resolution.

Cheers,
  Harm

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Re: SVG enormous fonts issue

[Henning Hraban Ramm]

Am 2018-04-16 um 18:27 schrieb Noeck :

> Your svg looks fine here.
> Tested with firefox, thunderbird, eog on Ubuntu.

Also fine with Preview on OSX 10.9


Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net




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Re: Ottava mark: edge dashed line

[Noeck]

Am 16.04.2018 um 22:32 schrieb Thomas Morley:
> If you use dotted-lines the result could be:

Thanks. The dotted-line sounds better than a dashed-line with
dash-fraction zero. But the output seems to be the same and the issue in
the top-right corner, too. The dots are not aligned. It just depends on
how long the line is.

Best,
Joram

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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-16 22:42 GMT+02:00 Noeck :
>
>
> Am 16.04.2018 um 22:32 schrieb Thomas Morley:
>> If you use dotted-lines the result could be:
>
> Thanks. The dotted-line sounds better than a dashed-line with
> dash-fraction zero. But the output seems to be the same and the issue in
> the top-right corner, too. The dots are not aligned. It just depends on
> how long the line is.
>
> Best,
> Joram

Again, I can see misaligned dots with evince but _not_ with Foxit Reader.
A pdf-viewer artefact?
Not sure how to verify...

Cheers,
  Harm

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Re: Ottava mark: edge dashed line

[foxfanfare]

Noeck wrote
> Thanks. The dotted-line sounds better than a dashed-line with
> dash-fraction zero. But the output seems to be the same and the issue in
> the top-right corner, too. The dots are not aligned. It just depends on
> how long the line is.

I don't understand your issue, for me it looks great: 
 

Thank you very much Thomas for your time, help, and explanations!



Thomas Morley-2 wrote
> draw-line-markup has some properties you could use: on, off, probably
> full-length (it's #t per default, meaning the dashed-line will be
> scaled to full-fill the specified length, partly disregarding your
> on/off-values) and thickness (thickness will default to 1 or the
> grob's thickness)

In fact, I found those variables but I cannot figure out how to implement in
the function... This kind of command is still chinese for me... And I was
unable to find explanations about the ".bound-details" in the
documentation... or some similar code to get inspired!



Thomas Morley-2 wrote
> Please always use the docs of your lily-version.
> The link points to 2.18, but you're using 2.19.80 

You are right. I work with so many internet windows opened that sometimes I
get confuse in all the documentation pages. And I was a bit surprised when I
copied the *.ly file I posted before, that it didn't work in my LilyPond
version... Now it makes sense.

I could never have guessed this could have been reported as a bug and that
the default output changed therefore! I personnaly like this kind of "old"
engraving style with dashed end corners. But I guess tastes may vary :-)
Funny though, I am also currently reading Elaine Gould's book and try to
engrave her rules in LilyPond. But in case of ottava bracket, I kind of
prefer the first default LilyPond output :-)

Next challenge: I'll try to code her exemple p.31 where she draw a vertical
line at the right of the "8" sign when it is too far from the staff.




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Re: Consistent vertical alignment of annotations, disable time signiture

[foxfanfare]

Robert Hickman wrote
> Works correctly, I found variations on the following with google, which
> was
> giving a syntax error:
> 
> \context { \Staff \omit TimeSignature}

If I understood correctly, this syntax is good, but works for the layout
block as a "global" preset.

\omit Staff.TimeSignature should be placed in the "score" block as something
you may want to revert in some point.

*OMG, my first comment which isn't aimed to ask for help but "try" to help
someone else :-)



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Re: Ottava mark: edge dashed line

[Noeck]

Am 16.04.2018 um 23:00 schrieb Thomas Morley:
> Again, I can see misaligned dots with evince but _not_ with Foxit Reader.
> A pdf-viewer artefact?

Hi Harm,

I think have a slight misunderstanding here. I don’t think it is
primarily a viewer artifact. IIUC, the horizontal dots are aligned on
the left boundary and they just end wherever they have to on the right.
So I see no reason why they should be aligned by design.
You can add and remove notes under the ottava bracket to get a different
length of the bracket and I guess you will see misaligned top-right
corners with all viewers (I suppose).

Sometimes the last gap is a little too wide (perhaps hardly noticable
like in foxfanfares last image). Sometimes two dots overlap and
sometimes it’s just perfect.

I guess not all viewers are perfectly drawing this from the pdf line
specification or why else should there be a difference?

As I said, I think it’s a question where the line starts: on the left or
on the right and then it’s kind of luck how they meet in the corner.

Cheers,
Joram

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Re: Ottava mark: edge dashed line

[foxfanfare]

Noeck wrote
> As I said, I think it’s a question where the line starts: on the left or
> on the right and then it’s kind of luck how they meet in the corner.

I see what your means. But even if the line started on right, you'll get the
same problem at the left then no? The distance from the "8" text will vary.
But maybe it is something you accomodate better.

Could not it be more easy to just change the dash period a bit in order to
get it done?



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Key signatures in modes other than Ionian & Aeolian

[Peter Crighton]

Hello all,

my question is not exclusive to LilyPond, but I hope you can enlighten me
anyway.

I am transcribing a song in D Mixolydian and am wondering which key
signature to notate it in – d \mixolydian (because that is the mode it is
in) or d \major (because a D major chord clearly is the tonic of the song).
I’d rather notate it in d \mixolydian, which seems correct to me, but might
it be easier to read (especially for non-professional musicians) in d
\major just with a natural sign before every c?
What is everyone doing in such a case? Any experiences which is easier to
read? Also, could the style of music matter? In Early Music I’d be even
more inclined to notate in d \mixolydian, but in this case it is a pop song
where people might only expect to see major or minor keys.

Curious to hear what you all think.

Thanks,
Peter

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-16 23:31 GMT+02:00 foxfanfare :
> Noeck wrote
>> As I said, I think it’s a question where the line starts: on the left or
>> on the right and then it’s kind of luck how they meet in the corner.
>
> I see what your means.

I don't. Though, there were other cases where I noticed similar.
Thus, while coding draw-dashed/dotted-line-markup-commands I
implemented the 'full-length-property (#t per default) to ensure the
line never ends with space.
You can ofcourse set it #f to gain space, if desired.
The line-styles defined in C++ , which are used in
OttavaBracket.stencil lack this feature.

> But even if the line started on right, you'll get the
> same problem at the left then no? The distance from the "8" text will vary.
> But maybe it is something you accomodate better.
>
> Could not it be more easy to just change the dash period a bit in order to
> get it done?

All you can do. But tedious and needs readjusting every time layout changes.


Cheers,
  Harm

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Re: Key signatures in modes other than Ionian & Aeolian

[Thomas Morley]

2018-04-16 21:18 GMT+02:00 Peter Crighton :
> Hello all,
>
> my question is not exclusive to LilyPond, but I hope you can enlighten me
> anyway.
>
> I am transcribing a song in D Mixolydian and am wondering which key
> signature to notate it in – d \mixolydian (because that is the mode it is
> in) or d \major (because a D major chord clearly is the tonic of the song).
> I’d rather notate it in d \mixolydian, which seems correct to me, but might
> it be easier to read (especially for non-professional musicians) in d \major
> just with a natural sign before every c?
> What is everyone doing in such a case? Any experiences which is easier to
> read? Also, could the style of music matter? In Early Music I’d be even more
> inclined to notate in d \mixolydian, but in this case it is a pop song where
> people might only expect to see major or minor keys.
>
> Curious to hear what you all think.
>
> Thanks,
> Peter


If it's really D Mixolydian, go for `d \mixolydian'. D-major would be
simply wrong and confusing.


My 2cts,
  Harm

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Re: Ottava mark: edge dashed line

[Carl Sorensen]

On 4/16/18, 3:31 PM, "foxfanfare"  wrote:

Noeck wrote
> As I said, I think it’s a question where the line starts: on the left or
> on the right and then it’s kind of luck how they meet in the corner.

I see what your means. But even if the line started on right, you'll get the
same problem at the left then no? The distance from the "8" text will vary.
But maybe it is something you accomodate better.

Could not it be more easy to just change the dash period a bit in order to
get it done?

The slur dash code does just that, IIRC.  It goes from 0 to 1 on the t-value of 
the Bezier, and makes sure that the end of the slur is always a full solid part.

I haven't looked at the ottava bracket code, but it seems like it ought to be 
able to do the same, since it's a spanner like the slur is.

Carl




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Re: Ottava mark: edge dashed line

[Noeck]

I will read your mail and the ottava code tomorrow. For the time being
here is what I see (the differing dot spacing is due to my settings and
not of concern here).

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Re: Key signatures in modes other than Ionian & Aeolian

[David Kastrup]

Peter Crighton  writes:

> Hello all,
>
> my question is not exclusive to LilyPond, but I hope you can enlighten me
> anyway.
>
> I am transcribing a song in D Mixolydian and am wondering which key
> signature to notate it in – d \mixolydian (because that is the mode it is
> in) or d \major (because a D major chord clearly is the tonic of the song).
> I’d rather notate it in d \mixolydian, which seems correct to me, but might
> it be easier to read (especially for non-professional musicians) in d
> \major just with a natural sign before every c?
> What is everyone doing in such a case? Any experiences which is easier to
> read? Also, could the style of music matter? In Early Music I’d be even
> more inclined to notate in d \mixolydian, but in this case it is a pop song
> where people might only expect to see major or minor keys.
>
> Curious to hear what you all think.

If there is no A major chord in the harmonization/chord sequences,
having a C sharp in the key signature on a tonic of D is going to
confuse more than it helps in my book.

-- 
David Kastrup

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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-16 23:45 GMT+02:00 Carl Sorensen :
> On 4/16/18, 3:31 PM, "foxfanfare"  wrote:
>
> Noeck wrote
> > As I said, I think it’s a question where the line starts: on the left or
> > on the right and then it’s kind of luck how they meet in the corner.
>
> I see what your means. But even if the line started on right, you'll get 
> the
> same problem at the left then no? The distance from the "8" text will 
> vary.
> But maybe it is something you accomodate better.
>
> Could not it be more easy to just change the dash period a bit in order to
> get it done?
>
> The slur dash code does just that, IIRC.  It goes from 0 to 1 on the t-value 
> of the Bezier, and makes sure that the end of the slur is always a full solid 
> part.
>
> I haven't looked at the ottava bracket code, but it seems like it ought to be 
> able to do the same, since it's a spanner like the slur is.
>
> Carl



Hi Carl,

you are right with the default-stencil for OttavaBracket.

But in this thread ly:line-spanner::print was used to get more
tweaking-possibilities. For this stencil I could verify the issue.

Below some test-code using box-stencil to make dimensions visible.
All for 2.19.81

(1) All fine for the default, i.e. ly:ottava-bracket::print

$@(map
(lambda (val)
  #{
\new Staff
  \with {
\override OttavaBracket.stencil =
  #(lambda (grob) (box-stencil (ly:ottava-bracket::print grob) 0 0))
  }
  {
\ottava #1
c''4
\override NoteColumn.X-offset = $val
d''
  }
  #})
(iota 10 0 2))

(2) Using ly:line-spanner::print and dotted-style returns sometimes a
gap at line-end.

with-ottava-line-spanner =
\with {
\override OttavaBracket.stencil =
  #(lambda (grob) (box-stencil (ly:line-spanner::print grob) 0 0))
\override OttavaBracket.bound-details =
  #`((left . ((Y . 0)
  (attach-dir . ,LEFT)
  (padding . 0)
  (stencil-align-dir-y . ,UP)))
 (right . ((Y . 0)
   (padding . 0)
   (attach-dir . ,RIGHT

\override OttavaBracket.style = #'dotted-line
\override OttavaBracket.thickness = #4
\override OttavaBracket.left-bound-info =
   #ly:line-spanner::calc-left-bound-info-and-text
\override OttavaBracket.right-bound-info =
   #ly:line-spanner::calc-right-bound-info
}

$@(map
(lambda (val)
  #{
\new Staff \with \with-ottava-line-spanner
  {
\ottava #1
c''4
\override NoteColumn.X-offset = $val
d''
  }
  #})
(iota 10 0 2))


Would be nice the default would offer more tweaking-possibilities to
avoid such messing around.
Also, ly:line-spanner::print should have at least the option to cover
the whole specified length, _avoiding_ space at start/end.


Best,
  Harm

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Re: Key signatures in modes other than Ionian & Aeolian

[Hans Åberg]

> On 16 Apr 2018, at 21:18, Peter Crighton  wrote:
> 
> I am transcribing a song in D Mixolydian and am wondering which key signature 
> to notate it in – d \mixolydian (because that is the mode it is in) or d 
> \major (because a D major chord clearly is the tonic of the song). I’d rather 
> notate it in d \mixolydian, which seems correct to me, but might it be easier 
> to read (especially for non-professional musicians) in d \major just with a 
> natural sign before every 
> What is everyone doing in such a case? Any experiences which is easier to 
> read? Also, could the style of music matter? In Early Music I’d be even more 
> inclined to notate in d \mixolydian, but in this case it is a pop song where 
> people might only expect to see major or minor keys.

Strictly, the key signature is there to simplify notation, so any way you 
prefer is possible. However, non-standard key signatures even with microtonal 
accidentals are used in Turkish and Persian music, and in Turkish music it is 
further common to write the name of the makam (that is, the mode) over the key 
signature.

So if you think there might be confusion, you might write the name of the mode 
over or under the key signature.

In early music, one used musica ficta, or not notated accidentals, that may 
further be variable in interpretation, cf. [1], Hildebrandslied and Czart lip, 
which complicates modern notation further. 

This is also the case in GHB (Great Highland Bagpipe) scores which are in 
mixolydian, but to do not write it out. I prefer to write it though. Also here, 
a tune that is in mixolydian on GHB may be in major on other instruments, like 
accordion. 

1. https://www.youtube.com/watch?v=K5CfqcN3wmY



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Re: Consistent vertical alignment of annotations, disable time signiture

[Thomas Morley]

2018-04-16 23:23 GMT+02:00 foxfanfare :

> *OMG, my first comment which isn't aimed to ask for help but "try" to help
> someone else :-)

lol

More seriously, your help is very appropriated!

Best,
  Harm

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Re: Key signatures in modes other than Ionian & Aeolian

[Al Rushing]

The music is forced to have one sharp or it will be unreadable to musicians.

I would say suppress the key name.  Musicians know what key it is in already.

Al.





 Original message 
From: Peter Crighton 
Date: 4/16/18 2:36 PM (GMT-08:00)
To: LilyPond User Mailing List 
Subject: Key signatures in modes other than Ionian & Aeolian

Hello all,

my question is not exclusive to LilyPond, but I hope you can enlighten me 
anyway.

I am transcribing a song in D Mixolydian and am wondering which key signature 
to notate it in – d \mixolydian (because that is the mode it is in) or d \major 
(because a D major chord clearly is the tonic of the song). I’d rather notate 
it in d \mixolydian, which seems correct to me, but might it be easier to read 
(especially for non-professional musicians) in d \major just with a natural 
sign before every c?
What is everyone doing in such a case? Any experiences which is easier to read? 
Also, could the style of music matter? In Early Music I’d be even more inclined 
to notate in d \mixolydian, but in this case it is a pop song where people 
might only expect to see major or minor keys.

Curious to hear what you all think.

Thanks,
Peter

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Consistent vertical alignment of annotations, disable time signiture

[Thomas Morley]

2018-04-17 0:24 GMT+02:00 Thomas Morley :
> 2018-04-16 23:23 GMT+02:00 foxfanfare :
>
>> *OMG, my first comment which isn't aimed to ask for help but "try" to help
>> someone else :-)
>
> lol
>
> More seriously, your help is very appropriated!

Forgive me, this should read "very appreciated"
Non-native-speaker here...

>
> Best,
>   Harm

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RE: Different time signature on different staff

[Ming Tsang]

Brian, 
Thank you for pointing me to NR. I have been search LSR and found nothing.
I will study the NR.
Ming

Sent from Mail for Windows 10

From: Brian Barker
Sent: April 16, 2018 11:49 AM
To: lilypond-user@gnu.org
Cc: Ming Tsang
Subject: Re: Different time signature on different staff

At 11:17 16/04/2018 -0400, Ming Tsang wrote:
>My code did not produce the expecting of time 6/8 on the first 
>staff. What shall I code to correct this.

See "Different time signatures with equal-length measures" and 
"Different time signatures with unequal-length measures" under 
"Polymetric notation" at
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-rhythms#polymetric-notation
 
.

Brian Barker  


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RE: Different time signature on different staff

[Ming Tsang]

Knut,
Thank you for the sample PDF and ly source. 
http://lilybin.com/94hi4y/1 
Question: how to align bar lines for the above lilybin sample.
Ming


Sent from Mail for Windows 10

From: Knut Petersen
Sent: April 16, 2018 12:07 PM
To: Ming Tsang; lilypond-user@gnu.org
Subject: Re: Different time signature on different staff

Hi Ming! 
My code did not produce the expecting of time 6/8 on the first staff.  
What shall I code to correct this.

After reading the manual location pointed out by Brian you might have a look 
at my edition of Hugo Distles polymetric "Er ist's". PDF and source code

Knut

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Re: Key signatures in modes other than Ionian & Aeolian

[Torsten Hämmerle]

Peter Crighton wrote
> I am transcribing a song in D Mixolydian
> [...]
> in this case it is a pop song

Hi Peter,

Even if my opinion may differ from the general opinion here, I think that in
popular music, one would use standard D major key signature.
Reason: Two sharps clearly show D major tonic and the characteristic mixo
tone C (flat seventh) stands out in the sheet music by the accidental used.

It's quite common for popular music to just use the minor/major key
signature matching the tonic and show notes that deviate from the standard
minor/major scale my explicitly using accidentals each time.

*Examples:*

"Riders on the Storm" 
(in E Dorian) has E minor key signature and the characteristic Dorian sixth
C# stands out by using accidentals. Just think of Manzarek's famous bass
line.

"Norwegian Wood" 
(in E Mixolydian) has E major key signature and the characteristic
Mixolydian seventh D is clearly marked by using a natural sign each time.

At least, that's the way professional ("official") publications handle it.

Classical music, however, this is different. In Jazz, I've seen both.

All the best,
Torsten






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Re:Key signatures in modes other than Ionian & Aeolian

[Flaming Hakama by Elaine]

>
>  Original message 
> From: Peter Crighton 
> Date: 4/16/18 2:36 PM (GMT-08:00)
> To: LilyPond User Mailing List 
> Subject: Key signatures in modes other than Ionian & Aeolian
>
> Hello all,
>
> my question is not exclusive to LilyPond, but I hope you can enlighten me
> anyway.
>
> I am transcribing a song in D Mixolydian and am wondering which key
> signature to notate it in – d \mixolydian (because that is the mode it is
> in) or d \major (because a D major chord clearly is the tonic of the song).
> I’d rather notate it in d \mixolydian, which seems correct to me, but might
> it be easier to read (especially for non-professional musicians) in d
> \major just with a natural sign before every c?
> What is everyone doing in such a case? Any experiences which is easier to
> read? Also, could the style of music matter? In Early Music I’d be even
> more inclined to notate in d \mixolydian, but in this case it is a pop song
> where people might only expect to see major or minor keys.
>
> Curious to hear what you all think.
>
> Thanks,
> Peter
>
> --
> Peter Crighton | Musician & Music Engraver based in Mainz, Germany
> http://www.petercrighton.de
>
>
I'd suggest using d major.

The more classical training the musicians have, the more likely they are to
look at the signature and expect it to be either Ionian or Aeolian,
determine the root based on that, then determine the scale based on the
root.

Which is to say, they are not looking at the key signature for individual
accidentals, but for the root and major/minor, and from there they don't
look at the signature any more.

Absent the full score, it is difficult to determine a specific mode, so
trying to use a key signature alone to identify a mode be difficult.  Using
key signatures to indicate modes means that you expand the possible meaning
of a signature from 2 to 7 possible meanings.

Since musicians are also used to hearing things in Ionian/Aeolian, to the
extent that they are relying on their ears and not reading the signature
closely, they may expect the natural 7 and play a C# anyway.  Putting it in
a major signature will ensure that these "unusual" notes have a natural
sign in front of the seventh degree, and reduce these kind of "listening"
mistakes.

I think what others have suggested, which is using the actual signature,
but write the name of the mode above it, could be a good compromise, if
using the "wrong" key signature seems unappetizing.


HTH,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Properties outside of scores

[Emilio Millan]

This one's a little odd, I admit, but it would come in handy to me.

Suppose I had two markup blocks at the top level of a document--i.e., not in
a score. Is there a way to set something like a context property outside the
markup blocks but used inside them?

Here's a contrived pseudo-example:

\set property = #1

\markup{ \functionWhichUsesProperty }

\set property = #2

\markup{ \functionWhichUsesProperty }

Thanks and apologies if I'm missing something obvious.

Emilio




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Re: Consistent vertical alignment of annotations, disable time signiture

[Andrew Bernard]

Hi Robert,

As I mentioned and others have said, there is no substitute for studying
the NR and the Learning Manual, in detail, exhaustively. It's a powerful
program with enormous control, unlike typical GUI programs. It's no
different to learning to play tin whistle. Nobody would expect to learn it
in a week. Because lilypond is text based, you have to fully understand the
syntax and semantics for advanced work. If you are keen, you can learn
Scheme and program functions and extensions. The documentation is
exceptionally good, given that this is open source software.

[Re the Larsen ornaments, I can't see how to integrate Scheme and Lilypond
in safe mode. Possibly impossible!]

cheerio!
Andrew


On 17 April 2018 at 04:50, Robert Hickman  wrote:

>
> I'm finding it quite difficult to find out how to do what I want to do
> with lilypond.
>
>
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Re: Properties outside of scores

[Andrew Bernard]

Hi Emilio,

Something like this can be adapted to your need?

Andrew



\version "2.19.81"

% simple debug print
#(define (dbg . args)
   "Simple debug console print."
   (cond
((not (null? args))
 (display (car args))
 (display " ")
 (apply dbg (cdr args)))
(else (newline))
)
   )

%==

function =
#(define-scheme-function (arg1 arg2) (number? (symbol? 'bigHarmonica))
   (dbg arg1)
   (dbg arg2)
   #t
   )

myProperty = #'someHarmonica

{
  \function 0 \myProperty
  \function 1 #'mediumHarmonica
  \function 2 #'littleHarmonica
  \function 3 \default
  \function 4 \myProperty

  #(define myProperty 'anotherHarmonica)
  \function 5 \myProperty

  c''4
}


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Re: Different time signature on different staff

[Knut Petersen]

Hi Ming!


Question: how to align bar lines for the above lilybin sample.


Well, as long as your MelodyA starts with \partial 8 \time 6/8
and your MelodyB starts with \partial 4 \time 4/4, bars will
never happen at the same moment in time and thus bars
will not be aligined ...

Knut
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Re: Key signatures in modes other than Ionian & Aeolian

[Lukas-Fabian Moser]

Am 17.04.2018 um 01:24 schrieb Torsten Hämmerle:


Even if my opinion may differ from the general opinion here, I think that in
popular music, one would use standard D major key signature.
Reason: Two sharps clearly show D major tonic and the characteristic mixo
tone C (flat seventh) stands out in the sheet music by the accidental used.
I very much agree. In my impression, nowadays most musicians (save 
medieval or Renaissance music specialists and maybe Jazz musicians) tend 
to only differentiate between "major-like" and "minor-like" scales/keys, 
which means that every modal scale is measured against the one of the 
two "standard" scales/keys more similar to what is at hand. So, having 
two sharps in the key signature will most probably be read as 
"major-like tune with tonic D", which is exactly what should come 
across, even in the music leans more toward, e.g., mixolydian mode. (In 
fact, more ofthen than not there are elements characteristic of more 
standard major/minor tonality in such a tune, for instance think of the 
e-Dorian mittle eight in "Norwegian Wood" which concludes with a regular 
cadenza in E major.)


If you write your D-mixolydian tune with just one sharp, I see two 
equally unfortunate possibilites: Either musicians will correctly 
recognize D as the tonic and play C sharp all the time (since this is 
what they're used to in a major-like tune with tonic D), or they look at 
the key signature, think "G major" and try to relate everything in the 
tune to some elusive "tonic" G.


Nowadays, I think the key signatures are read not as combinations of 
alterations but of fixed code sets designating one of the standard keys, 
expressed as a combination of tonic plus "major/minor". So, go for D 
major key signature.


Best
Lukas


"Norwegian Wood"
(in E Mixolydian) has E major key signature and the characteristic
Mixolydian seventh D is clearly marked by using a natural sign each time.

At least, that's the way professional ("official") publications handle it.



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