Re: Writing notes in Pythagorean tuning in microlily

[Graham Breed]

On 23/11/2019, kupirijo  wrote:
> I think I found it here
> https://lists.gnu.org/archive/html/lilypond-devel/2018-10/msg00129.html
>
> Yes it seems to have both AEU notation and some other notation that is
> new (it cannot be HE as HE is for just notation) I will try it out anyway.

Lilypond has AEU or something like it.  I support HE for just
intonation.  It's imperfect, though, because it requires an external
font and Lilypond gets some of the spacing wrong.  Something also
tends to break with every new version of Lilypond and I'm not keeping
up.

The code is here:

https://bitbucket.org/x31eq/microlily/src/master/

but if you don't need tuned MIDI output then I don't think it will be
any use to you.

> By the way, what is a generator? Is it related to meantone temperament?

The generator in this case is the fourth or fifth.  It generates all
pitches through the spiral of fifths.

> Also in the new turkish_makam.ly, why is the Holdrian comma 1/10 of a
> whole 12-TET tone i.e. 200/10 = 20 cents? The HC is approx. 22.64 cents
> (i.e. very close to a 1/9 of a 12-TET whole tone)

If you work with "regular.ly", the "whole tone" that Lilypond
calculates its accidentals relative to is not the same as the whole
tone that will be tuned to 9:8 in just intonation.  So it's correct
that a comma will be 1/10 of a whole tone.  9:8 is a comma flat of two
sharps, and so will be 9 commas wide.

>>> I see. Who wrote regular.ly? And why is it called regular?
>> Graham Breed (added as CC). Probably because ETs are regular tunings on
>> one generator.

It's called regular because it generalizes Lilypond's tuning model
from equal temperament (12 equal divisions of the octave) to a more
general regular temperament (the spiral of fifths, or neutral thirds
if you consider half-sharps).  It's something I'd like to see included
in the standard distribution because it's fully compatible with common
practice notation, and many not-at-all-microtonal pieces will sound
acceptable (and hopefully better) in some kind of meantone
temperament.  A notation package like Lilypond that already
distinguishes enharmonic pairs is a good tool for experimenting with
this.


   Graham

>>
> Regarding makam music, the version of lilypond that I am using has
> makam.ly included.
 Try to switch the file that Adam Good has done, which effectively
 deprecates the one in the current distribution.

>>> Where can I find the file? Is this an alternative to AEU notation?
>> It is mentioned at [1]; he is in the CC of this mail, so perhaps he
>> responds. It is AEU but maybe Helmholtz-Ellis is in the works as well.
>>
>> 1.
>> https://lists.gnu.org/archive/html/lilypond-devel/2019-11/msg00167.html
>>
>>
>

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 00:58, kupirijo  wrote:
> 
> I think I found it here 
> https://lists.gnu.org/archive/html/lilypond-devel/2018-10/msg00129.html

Adam has worked quite a but on it since then, so get the latest.

> Yes it seems to have both AEU notation and some other notation that is new 
> (it cannot be HE as HE is for just notation) I will try it out anyway.

It is Helmoltz-Ellis, because in E53 they are the same, and in addition AEU is 
not transposable, so it makes sense to use when transposing, which was one 
motivation, but others, such as it is easy to read. The interval difference is 
small, and may only be significant in harmony, simultaneous pitches, in which 
case it is Just Intonation one should use anyway.

> By the way, what is a generator?

One has a finite set of pitches and add transposition to that, then it is what 
is called in mathematics a finitely generated torsion free Abelian group, and 
such is a product of number of copies of the set of integers, and the number of 
those opcies is the rank.

> Is it related to meantone temperament?

An extended meantone temperament has two generators, which traditionally is the 
octave and the the fufth, but one can change basis and take any two, such as 
the minor and major second. LilyPond uses the sharp and the major second. Two 
generators is necessary for correct typesetting of the staff system. In 
Turkish, Arabic, and Persian music, one would need three generators each, but 
LilyPond cannot handle that.

> Also in the new turkish_makam.ly, why is the Holdrian comma 1/10 of a whole 
> 12-TET tone i.e. 200/10 = 20 cents? The HC is approx. 22.64 cents (i.e. very 
> close to a 1/9 of a 12-TET whole tone)

Adam will have to come along and say exactly what he has done. But if one does 
not want to use the file regular.ly as it is not in the current LilyPond 
distribution, then E72 or E60 are alternatives one can use.

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 09:20, Graham Breed  wrote:
> 
> On 23/11/2019, kupirijo  wrote:
>> I think I found it here
>> https://lists.gnu.org/archive/html/lilypond-devel/2018-10/msg00129.html
>> 
>> Yes it seems to have both AEU notation and some other notation that is
>> new (it cannot be HE as HE is for just notation) I will try it out anyway.
> 
> Lilypond has AEU or something like it.  I support HE for just
> intonation.  It's imperfect, though, because it requires an external
> font and Lilypond gets some of the spacing wrong.  Something also
> tends to break with every new version of Lilypond and I'm not keeping
> up.
> 
> The code is here:
> 
> https://bitbucket.org/x31eq/microlily/src/master/
> 
> but if you don't need tuned MIDI output then I don't think it will be
> any use to you.

One can use SMuFL with a font Bravura and OpenLilyLib with a file 
definitions.ily.

Re: drawing a range reguardless of transposition

[Sandro Santilli]

On Fri, Nov 15, 2019 at 12:42:46PM +0100, Sandro Santilli wrote:
> On Fri, Nov 15, 2019 at 12:20:51PM +0100, Michael Käppler wrote:
> >
> > melodyRange = \override NoteHead.color = \highlightOutOfRange e' b'
> 
> And this is great to build that library, thanks !

I'm building that library, using info from
http://www.orchestralibrary.com/reftables/rang.html
and wondering how I could (scheme question, I guess) define the 2
parameters passed to "highlightOutOfRange" function as variables.

Like, the following does _not_ work:

  altoDesignedWrittenRange = bes g'''
  \override NoteHead.color = \highlightOutOfRange \altoDesignedWrittenRange

--strk;

Re: Writing notes in Pythagorean tuning in microlily

[Graham Breed]

On 24/11/2019, Hans Åberg  wrote:
[amended]
> An extended meantone temperament has two generators, which traditionally is
> the octave and the the fifth, but one can change basis and take any two,
> such as the minor and major second. LilyPond uses the sharp and the major
> second. Two generators is necessary for correct typesetting of the staff
> system. In Turkish, Arabic, and Persian music, one would need three
> generators each, but LilyPond cannot handle that.

LilyPond can easily handle multiple generators with alternative pitch
names.  I've had "tripod notation" support with 3 generators for
several years.  It does mean alternative pitch names, though, rather
than regular transformations of (any of) the standard names.  Or
Scheme code to retune pitches, like I did for Sagital JI and Extended
Helmholtz-Ellis.

Where LilyPond has difficulty is with scales that don't repeat about
the octave.  It's possible to get around this with post-processing,
but easier not to.  So it's convenient to think of one of the
generators as an octave (or equal division of the octave).  In this
case, common practice notation (tuned as either meantone or
Pythagorean) has a single octave-equivalent generator, which could be
a fourth or a fifth.  LilyPond, however, goes a step beyond this by
providing half-sharps and half-flats.  When you do the algebra, it
turns out that this gives an octave-equivalent generator of a neutral
third (half a perfect fifth).


  Graham

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 11:57, Graham Breed  wrote:
> 
> On 24/11/2019, Hans Åberg  wrote:
> [amended]
>> An extended meantone temperament has two generators, which traditionally is
>> the octave and the the fifth, but one can change basis and take any two,
>> such as the minor and major second. LilyPond uses the sharp and the major
>> second. Two generators is necessary for correct typesetting of the staff
>> system. In Turkish, Arabic, and Persian music, one would need three
>> generators each, but LilyPond cannot handle that.
> 
> LilyPond can easily handle multiple generators with alternative pitch
> names.  I've had "tripod notation" support with 3 generators for
> several years.  It does mean alternative pitch names, though, rather
> than regular transformations of (any of) the standard names.  Or
> Scheme code to retune pitches, like I did for Sagital JI and Extended
> Helmholtz-Ellis.

Whatever rational numbers assigned to the accidentals and how many, one only 
gets one generator, unless there has been an extension lately. Perhaps you 
expect not transposing too far?

how to tie?

[Jinsong Zhao]

Hi there,

I use the following code to input the figure attached. 

\version "2.19.83"
\relative c, {
  \clef "bass"
  \key g \major
  \time 3/4
  << {s4 2 ~ } \\ {2.} >> |
  2. ~ |
  2.
}

However, it did not give the first tie. Any hints? Thanks in advance.

Best,
Jinsong

Re: how to tie?

[Martin Tarenskeen]

On Sun, 24 Nov 2019, Jinsong Zhao wrote:


\version "2.19.83"

\relative c, {
  \clef "bass"
  \key g \major
  \time 3/4
  << {s4 2 ~ } \\ {2.} >> |
  2. ~ |
  2.
}



However, it did not give the first tie. Any hints? Thanks in advance.


How about this:

\version "2.19.83"
\relative c, {
  \clef "bass"
  \key g \major
  \time 3/4
  << {s4 2 ~ | q2.~ | q } \\ { 2. | s | s } >> |
}

--

MT

vertical positioning of \mark\markup "blah blah"

[Mario Bolognani]

How can the vertical positioning of a \mark\markup statement be controlled?

Many thanks for all suggestions.

Mario Bolognani

Re: how to tie?

[Martin Wadsack]

Hi Jinsong,

it's because the double backslash generates a new voice context for every 
expression. In fact, 
the chord where you want to assign the tie, does not exist anymore, because the 
voice has 
ended.

See: http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html
'The << {…} \\ {…} >> construct, where the two (or more) expressions are 
separated by double 
backslashes, behaves differently to the similar construct without the double 
backslashes: /
all/ the expressions within this construct are assigned to new Voice contexts. 
These new 
Voice contexts are created implicitly and are given the fixed names "1", "2", 
etc.'


You could to it this way:


\version "2.18.2"
\relative c, {
  \clef "bass"
  \key g \major
  \time 3/4
  <<
{
  \tieNeutral
  s4 2 ~
  2. ~ |
  2.
}
\\
{
  2.
}
  >>
}

Best regards,
Martin

Am Sonntag, 24. November 2019, 21:56:23 CET schrieb Jinsong Zhao:
> \version "2.19.83"
> \relative c, {
>   \clef "bass"
>   \key g \major
>   \time 3/4
>   << {s4 2 ~ } \\ {2.} >> |
>   2. ~ |
>   2.
> }

Re: vertical positioning of \mark\markup "blah blah"

[Phil Holmes]

\override Score.RehearsalMark.Y-offset = #25

--
Phil Holmes


  - Original Message - 
  From: Mario Bolognani 
  To: Hans Åberg 
  Cc: Lilypond-user 
  Sent: Sunday, November 24, 2019 2:32 PM
  Subject: vertical positioning of \mark\markup "blah blah"


  How can the vertical positioning of a \mark\markup statement be controlled?


  Many thanks for all suggestions.


  Mario Bolognani

Re: Writing notes in Pythagorean tuning in microlily

[kupirijo]

Hi again,

So the turkish-makam.ly that I downloaded earlier requires a file called 
definitions.ily . Is this provided somewhere?


Also where can I download the latest version of turkish-makam.ly?

Thank you in advance


One can use SMuFL with a font Bravura and OpenLilyLib with a file 
definitions.ily.

Re: Writing notes in Pythagorean tuning in microlily

[kupirijo]

Thank you Graham for your explanation.

Yes indeed using the he.ly adds the accidentals far from the note. Do 
you have an example of the syntax required so one can write a 
Pythagorean sharp or flat?


Thank you once again

Στις 24/11/19 10:57 am, ο Graham Breed έγραψε:

On 24/11/2019, Hans Åberg  wrote:
[amended]

An extended meantone temperament has two generators, which traditionally is
the octave and the the fifth, but one can change basis and take any two,
such as the minor and major second. LilyPond uses the sharp and the major
second. Two generators is necessary for correct typesetting of the staff
system. In Turkish, Arabic, and Persian music, one would need three
generators each, but LilyPond cannot handle that.

LilyPond can easily handle multiple generators with alternative pitch
names.  I've had "tripod notation" support with 3 generators for
several years.  It does mean alternative pitch names, though, rather
than regular transformations of (any of) the standard names.  Or
Scheme code to retune pitches, like I did for Sagital JI and Extended
Helmholtz-Ellis.

Where LilyPond has difficulty is with scales that don't repeat about
the octave.  It's possible to get around this with post-processing,
but easier not to.  So it's convenient to think of one of the
generators as an octave (or equal division of the octave).  In this
case, common practice notation (tuned as either meantone or
Pythagorean) has a single octave-equivalent generator, which could be
a fourth or a fifth.  LilyPond, however, goes a step beyond this by
providing half-sharps and half-flats.  When you do the algebra, it
turns out that this gives an octave-equivalent generator of a neutral
third (half a perfect fifth).


   Graham

Easily enter music expressions in markup for Swing / shuffle music

[wmilmoe]

http://lsr.di.unimi.it/LSR/Item?id=1029
This reminds me that every thing is easy when we know how and often impossible 
when we do not know how.
I tried to find a swing tempo marking in snippets and didn't find one.
I tried using this 'easy example' and this is the best I could do:

%%
markup { \small {  \note #"8" #UP + \note #"8" #UP =
  \note #"4" #UP + \note #"8" #UP }}


% Or maybe

\markup{ \small { \note #"8" #UP + \note #"8" #UP "="  \note #"4" #UP \note 
#"8" #UP }}

%%%

I am clueless on how to add the triplet bracket to the top
as this didn't work
%%
%trying to put this in the above markup didn't work
 \tuplet 3/2 { c d}
\tuplet 3/2 { \note #"4" #UP \note #"8" #UP}

%%%
so using Frescabaldi / Lilypond I exported the required element as SVG and 
using inkscape created these images (see attachmenbts)



%also I found mention of    EZNOTES...  versus   \ezscore confusing?  in 
http://lsr.di.unimi.it/LSR/Item?id=1029

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 16:39, kupirijo  wrote:
> 
> So the turkish-makam.ly that I downloaded earlier requires a file called 
> definitions.ily . Is this provided somewhere?

It is from OpenLilyLib. And the Bravura font is from SMuFL 
; it must be installed so that lilypond sees it. I’ll 
send them to you together with Helmholtz-Ellis in E53.

> Also where can I download the latest version of turkish-makam.ly?

It looked like it was in the LilyPond source archive, otherwise from Adam.

Re: Writing notes in Pythagorean tuning in microlily

[Graham Breed]

On 24/11/2019, Hans Åberg  wrote:
>
>> On 24 Nov 2019, at 11:57, Graham Breed  wrote:
>>
>> LilyPond can easily handle multiple generators with alternative pitch
>> names.  I've had "tripod notation" support with 3 generators for
>> several years.  It does mean alternative pitch names, though, rather
>> than regular transformations of (any of) the standard names.  Or
>> Scheme code to retune pitches, like I did for Sagittal JI and Extended
>> Helmholtz-Ellis.
>
> Whatever rational numbers assigned to the accidentals and how many, one only
> gets one generator, unless there has been an extension lately. Perhaps you
> expect not transposing too far?

I had tripod notation working in 2009.  This is a rank 3 system, so
two octave-equivalent generators.  Here's the lilypond-book document I
made:

http://x31eq.com/magic/tripod.pdf

I initially had problems with transposition because there are 9
nominals to the octave, so there's a missing staff position.  I fixed
this using the chromatic staff support.  Now it transposes fine, and
I've even used LilyPond's transposition with tone rows.  Eventually,
the transposition will break because it runs out of symbols.  It'll do
that with common practice notation as well.  There's no special
problem with higher ranks.

There does have to be a linear chain of accidentals, so it has to be
quantized to an equal temperament at some level.  With tripod
notation, this means "inches" have to be reconciled to "semitoes" or
the spellings become very restricted.  Because the pitch system uses
rationals, an implicit equal temperament is inevitable anyway — unless
you use Scheme expressions to choose the accidentals, like with the
Extended Helmholtz-Ellis support.


   Graham

Re: Easily enter music expressions in markup for Swing / shuffle music

[David Wright]

On Sun 24 Nov 2019 at 17:08:14 (+), wmil...@aol.com wrote:
> http://lsr.di.unimi.it/LSR/Item?id=1029
> This reminds me that every thing is easy when we know how and often 
> impossible when we do not know how.
> I tried to find a swing tempo marking in snippets and didn't find one.
> I tried using this 'easy example' and this is the best I could do:
> 
> %%
> markup { \small {  \note #"8" #UP + \note #"8" #UP =
>   \note #"4" #UP + \note #"8" #UP }}
> 
> 
> % Or maybe
> 
> \markup{ \small { \note #"8" #UP + \note #"8" #UP "="  \note #"4" #UP \note 
> #"8" #UP }}
> 
> %%%
> 
> I am clueless on how to add the triplet bracket to the top
> as this didn't work
> %%
> %trying to put this in the above markup didn't work
>  \tuplet 3/2 { c d}
> \tuplet 3/2 { \note #"4" #UP \note #"8" #UP}
> 
> %%%
> so using Frescabaldi / Lilypond I exported the required element as SVG and 
> using inkscape created these images (see attachmenbts)
> 
> 
> 
> %also I found mention of    EZNOTES...  versus   \ezscore confusing?  in 
> http://lsr.di.unimi.it/LSR/Item?id=1029

I use scores in the markup. Here's an example; it happens to be in the
\tagline for pagination reasons. (\heading looks like a misnomer, but
it contains the date, and heads the source file.)

\header {
  title = \markup { "T T T" }
  tagline = \markup {
\vspace #2
\smaller
\fill-line {
  \heading
  \concat {
\italic "Swing"
\score { { \set fontSize = #-4 \override Stem.length-fraction = #0.65 
\stopStaff a'8[ a'] } \layout { \context { \Staff \omit Clef \omit 
TimeSignature } } }
"  ="
\score { { \set fontSize = #-4 \override Stem.length-fraction = #0.65 
\stopStaff \tuplet 3/2 { a'8~ \noBeam a' \noBeam a' } } \layout { \context { 
\Staff \omit Clef \omit TimeSignature } } } }
  \concat { "LilyPond version " $(lilypond-version) }
}
  }
}

Cheers,
David.

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 19:05, Graham Breed  wrote:
> 
> On 24/11/2019, Hans Åberg  wrote:
>> 
>>> On 24 Nov 2019, at 11:57, Graham Breed  wrote:
>>> 
>>> LilyPond can easily handle multiple generators with alternative pitch
>>> names.  I've had "tripod notation" support with 3 generators for
>>> several years.  It does mean alternative pitch names, though, rather
>>> than regular transformations of (any of) the standard names.  Or
>>> Scheme code to retune pitches, like I did for Sagittal JI and Extended
>>> Helmholtz-Ellis.
>> 
>> Whatever rational numbers assigned to the accidentals and how many, one only
>> gets one generator, unless there has been an extension lately. Perhaps you
>> expect not transposing too far?
> 
> I had tripod notation working in 2009.  This is a rank 3 system, so
> two octave-equivalent generators.  Here's the lilypond-book document I
> made:
> 
> http://x31eq.com/magic/tripod.pdf

I was not able to understand what this system does from this, despite trying 
several times. Perhaps you can give a more compact description.

If one takes multiples of accidentals represented by rational numbers, they 
will meet, which will not happen if they are independent as in a higher rank 
system. So you probably do not consider such higher multiples. For example, if 
one takes a double comma accidental in E53, as for Persian or Arabic music, 
then two of them in succession will be the same as a sharp lowered by a comma 
and notated as such in LilyPond. Then one can separate them by more complicated 
rational numbers, but not eliminate the phenomenon.

horizontal position of rehearsal marks at start of system

[Werner LEMBERG]

Folks,


how can I control the default horizontal position of rehearsal marks
at the beginning of a line?  As can be seen in the attached image, the
rehearsal mark gets shifted up because it would otherwise collide
with the bar number.  Consequently, I would like to have the default
position shifted to the right to avoid that.


Werner

Re: Writing notes in Pythagorean tuning in microlily

[David Kastrup]

Hans Åberg  writes:

>> On 24 Nov 2019, at 16:39, kupirijo  wrote:
>> 
>> So the turkish-makam.ly that I downloaded earlier requires a file
>> called definitions.ily . Is this provided somewhere?
>
> It is from OpenLilyLib. And the Bravura font is from SMuFL
> ; it must be installed so that lilypond sees
> it. I’ll send them to you together with Helmholtz-Ellis in E53.
>
>> Also where can I download the latest version of turkish-makam.ly?
>
> It looked like it was in the LilyPond source archive, otherwise from Adam.

And requires OpenLilyLib to run?

-- 
David Kastrup

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 22:20, David Kastrup  wrote:
> 
> Hans Åberg  writes:
> 
>>> On 24 Nov 2019, at 16:39, kupirijo  wrote:
>>> 
>>> So the turkish-makam.ly that I downloaded earlier requires a file
>>> called definitions.ily . Is this provided somewhere?
>> 
>> It is from OpenLilyLib. And the Bravura font is from SMuFL
>> ; it must be installed so that lilypond sees
>> it. I’ll send them to you together with Helmholtz-Ellis in E53.
>> 
>>> Also where can I download the latest version of turkish-makam.ly?
>> 
>> It looked like it was in the LilyPond source archive, otherwise from Adam.
> 
> And requires OpenLilyLib to run?

Just the file definitions.ily. I’ll send you a sample, so you can try.

Re: Writing notes in Pythagorean tuning in microlily

[David Kastrup]

Hans Åberg  writes:

>> On 24 Nov 2019, at 22:20, David Kastrup  wrote:
>> 
>> Hans Åberg  writes:
>> 
 On 24 Nov 2019, at 16:39, kupirijo  wrote:
 
 So the turkish-makam.ly that I downloaded earlier requires a file
 called definitions.ily . Is this provided somewhere?
>>> 
>>> It is from OpenLilyLib. And the Bravura font is from SMuFL
>>> ; it must be installed so that lilypond sees
>>> it. I’ll send them to you together with Helmholtz-Ellis in E53.
>>> 
 Also where can I download the latest version of turkish-makam.ly?
>>> 
>>> It looked like it was in the LilyPond source archive, otherwise from Adam.
>> 
>> And requires OpenLilyLib to run?
>
> Just the file definitions.ily. I’ll send you a sample, so you can try.

No, I am not really interested.  But we shouldn't distribute stuff as
part of LilyPond that requires OpenLilylib to run.

-- 
David Kastrup

Re: Writing notes in Pythagorean tuning in microlily

[Hans Åberg]

> On 24 Nov 2019, at 22:40, David Kastrup  wrote:
> 
> Hans Åberg  writes:
> 
>>> On 24 Nov 2019, at 22:20, David Kastrup  wrote:
>>> 
>>> Hans Åberg  writes:
>>> 
> On 24 Nov 2019, at 16:39, kupirijo  wrote:
> 
> So the turkish-makam.ly that I downloaded earlier requires a file
> called definitions.ily . Is this provided somewhere?
 
 It is from OpenLilyLib. And the Bravura font is from SMuFL
 ; it must be installed so that lilypond sees
 it. I’ll send them to you together with Helmholtz-Ellis in E53.
 
> Also where can I download the latest version of turkish-makam.ly?
 
 It looked like it was in the LilyPond source archive, otherwise from Adam.
>>> 
>>> And requires OpenLilyLib to run?
>> 
>> Just the file definitions.ily. I’ll send you a sample, so you can try.
> 
> No, I am not really interested.  But we shouldn't distribute stuff as
> part of LilyPond that requires OpenLilylib to run.

The development version, that is, not the one submitted. The components are 
slowly moving becoming a part of LilyPond.

Polymetric Polyphonic Notation: Only Show Initial Time Signature.

[Kale Good]

Hello List Serve,

I'm trying to typeset an Argentinian Waltz that alternates between \time 
3/4 and \time 6\8 with multiple instruments. I would like to display 
both time signatures at the beginning of the piece and I've set 
different default beaming for the different time signatures. I would 
like time signature changes throughout the piece to be invisible.


The best way I can figure to do this is to set default beaming for 
different time signatures via TimeSignatureSettings. Then change time 
signatures as necessary, preceded by \omit Staff.TimeSignature.


However, then I need to go through each voice and put in an omit. Not a 
big deal, but is there a way to place this in my \global settings? Right 
now, if I do that, it won't print the initial time signature.



Thanks,

Kale

--

Kale Good
Good Music Academy  ♫
4705 Baltimore Ave, Phila, PA 19143
phone: (215)260-5383

Facebook 
Google+ 
Read my article "The Seven Secrets to Six String Success 
" 
at GuitarNoise.com 

Re: horizontal position of rehearsal marks at start of system

[Pierre Perol-Schneider]

Hi Werner,
Did you move the bar number to get such output?
How about simply move the rehearsal mark also?
e.g.:
\version "2.19.83"

{
  \set Score.currentBarNumber = #23 \bar ""
  \mark\markup\box "5"
  \omit Staff.TimeSignature
  \once\override Score.BarNumber.X-offset = #.5 % <= ??
  \once\override Score.RehearsalMark.X-offset = 3.5
  c'
}

Cheers,
Pierre


Le dim. 24 nov. 2019 à 22:15, Werner LEMBERG  a écrit :

>
> Folks,
>
>
> how can I control the default horizontal position of rehearsal marks
> at the beginning of a line?  As can be seen in the attached image, the
> rehearsal mark gets shifted up because it would otherwise collide
> with the bar number.  Consequently, I would like to have the default
> position shifted to the right to avoid that.
>
>
> Werner
>

Re: horizontal position of rehearsal marks at start of system

[Werner LEMBERG]

>> how can I control the default horizontal position of rehearsal
>> marks at the beginning of a line?  As can be seen in the attached
>> image, the rehearsal mark gets shifted up because it would
>> otherwise collide with the bar number.  Consequently, I would like
>> to have the default position shifted to the right to avoid that.
>
> Did you move the bar number to get such output?

Yes.  I use

  \override BarNumber.self-alignment-X = #LEFT

to avoid that the bar numbers stick out.

> How about simply move the rehearsal mark also?  [...]

Thanks for this solution, however, I'm interested in a way to adjust
the *default* horizontal position, not a one-time correction.  Looking
at the stuff for `RehearsalMark` in file `define-grobs.scm` I can't
see how the horizontal position at the beginning of a line gets
computed – whatever it is, I want that by default it gets positioned
more to the right.


Werner

Re: drawing a range reguardless of transposition

[Aaron Hill]

On 2019-11-24 2:40 am, Sandro Santilli wrote:

Like, the following does _not_ work:

  altoDesignedWrittenRange = bes g'''
  \override NoteHead.color = \highlightOutOfRange 
\altoDesignedWrittenRange


The function would need to be modified to support syntax like that.

I took some time to generalize a few things and add some additional 
usability.  Consider the following updated version:



\version "2.19.83"

highlightPitches = #(define-music-function
  (color method music)
  ((color? red) symbol? ly:music?)
  "Applies the specified @var{color} to a @code{NoteHead} and its
associated @code{Accidental} when the pitch lies within the range
defined by @var{method} and @var{music}. Supported methods are
@code{below}, @code{above}, @code{outside}, and @code{inside}.
Notes within @var{music} may appear in any order. Pitches are
compared given their respective distance to Middle C."
  (define (pitch-tones\new Staff \with { \highlightPitches #magenta outside { fes' bis' } } 
\melody

\new Staff \with { \highlightPitches inside { bis' fes' } } \melody


Note that code above is almost compatible with 2.18.2.  You should only 
need to modify the declaration of the function to explicitly accept the 
parser and location arguments as required in the older version:



% ...
highlightPitches = #(define-music-function
  (parser location color method music)
  ((color? red) symbol? ly:music?)
% ...


When using this new function, you can choose to define the note range in 
a variable or simply wrap up the whole thing:



% ...
instrumentRange = { c' c'' }
highlightOutOfRange = \highlightPitches outside \instrumentRange
{ g''4 \once \highlightOutOfRange g'' g'' }



-- Aaron Hill

Re: Polymetric Polyphonic Notation: Only Show Initial Time Signature.

[karl]

Kale:
> I'm trying to typeset an Argentinian Waltz that alternates between \time 
> 3/4 and \time 6\8 with multiple instruments. I would like to display 
> both time signatures at the beginning of the piece and I've set 
> different default beaming for the different time signatures. I would 
> like time signature changes throughout the piece to be invisible.
> 
> The best way I can figure to do this is to set default beaming for 
> different time signatures via TimeSignatureSettings. Then change time 
> signatures as necessary, preceded by \omit Staff.TimeSignature.
...

Why not have the time sig stuff and the music in separate variables:

BS = {
  \initial_stuff
  \set_to_34
  s2.
  \set_to_68
  s2.
...
}

mus_a = { ... }
mus_b = { ... }

\score {
  <<
\new Staff { << \BS \mus_a >> }
\new Staff { << \BS \mus_b >> }
  >>
}

Regards,
/Karl Hammar

Re: make text span a specified musical interval?

[Ben]

On 11/24/2019 9:34 PM, Jace Toronto wrote:

Hi all,

This is the basic gist of what I'm trying to do:

\version "2.18.2"

\score { \new Staff \relative c' {
   \repeat volta 2 {
 c4^"vamp" r2 d8-"(Last time only)" e |
   }
   f g a4 r2 |
} }

However, the "last time only" instruction spills into the following measure, 
which makes it less clear what it refers to.  I would like for the first measure to be 
expanded to account for the width of this text.

This is simple to do if the text need apply to only one note:

\score { \new Staff \relative c' {
   \repeat volta 2 {
 c4^"vamp" r2 r8 \textLengthOn e8-"(Last time only)" |
   }
   f g a4 r2 |
} }

But for multiple notes, this does not work as intended:

\score { \new Staff \relative c' {
   \repeat volta 2 {
 c4^"vamp" r2 \textLengthOn d8-"(Last time only)" e |
   }
   f g a4 r2 |
} }

Ideally, I would like the eighth notes engraved as in the first example (as 
they are by default, with no extra space between them), but then the rest of 
the measure after them to be padded with space to account for the text, as in 
the second example.  Alternatively, the eighth notes could be spaced out a 
little more to account for the text, but having the second eighth note AFTER 
the end of the text. as \textLengthOn does by default, is ugly.

The closest thing to a solution I could find in the list archive was a clear 
description of the problem in Lilypond-internals terms 
(http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg00527.html) but 
only a hint at a solution insufficient for me to figure it out.  Anyone willing 
to offer a bigger hint?  Thank you.


Hi,

Is this what you would like the output to look like or am I 
misunderstanding?


\score {
  \new Staff \relative c' {
    \repeat volta 2 {
  c4^"vamp" r2 d8-"(Last time only)"
  \once \override NoteHead.extra-spacing-width = #'(0 . 10)
  e |
    }
    f g a4 r2 |
  }
}