Re: kind of OT: bach inventions

[Knute Snortum]

I have all of them from Mutopia on my disk.  Which one do you want?

---
Knute Snortum
(via Gmail)


On Fri, Aug 14, 2020 at 1:17 PM Mark Stephen Mrotek 
wrote:

> Elaine,
>
>
>
> I have my codes for 6, 12, and 13.
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Flaming Hakama by Elaine
> *Sent:* Friday, August 14, 2020 12:00 PM
> *To:* Lilypond-User Mailing List 
> *Subject:* kind of OT: bach inventions
>
>
>
>
>
> I was working with one of the Bach inventions and was trying to find
> public domain lilypond source, of either just the notes or an actual
> edition.
>
>
>
> All of mutopia's links seem to be down atm, was wondering if anyone
> happened to know of such a resource that is available.
>
>
>
>
> https://www.mutopiaproject.org/cgibin/make-table.cgi?collection=bachis&preview=1
>
> Sorry, no matches were found for your search criteria.
>
>
>
>
>
> Thanks,
>
>
> Elaine Alt
>
> 415 . 341 .4954   "*Confusion is
> highly underrated*"
>
> ela...@flaminghakama.com
>
> Producer ~ Composer ~ Instrumentalist ~ Educator
>
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
>
>
>
>
>
> On Tue, Aug 11, 2020 at 7:29 AM Flaming Hakama by Elaine <
> ela...@flaminghakama.com> wrote:
>
> -- Forwarded message --
> From: Michael Gerdau 
> To: Lilypond User 
> Date: Sat, 18 Jul 2020 07:57:23 +0200 (CEST)
> Subject: Q: Irregular alternate repeats and MIDI
> Hi List,
>
> I have a score with repeats and irregular alternate endings. I can neatly
> engrave that but I don't seem to be able to produce correct MIDI w/o
> manually arranging all segments.
>
> Does someone has a trick up his sleeve?
> I found mails regarding this problem in the archive dating back to 2008...
>
> Here is my "kind of" MWE:
> %---
> \version "2.21.2"
>
> body = { c'4 c' c' c' }
> voltaI = { d'4 d' d' d' }
> voltaII = { e'4 e' e' e' }
> voltaIII = { g'4 g' g' g' }
>
> musicI = {
>   \repeat volta 5 \body
>   \alternative {
> \voltaI
> \voltaII
> \voltaIII
>   }
>   \bar "|."
> }
>
> musicII = {
>   \repeat volta 5 \body
>   \set Score.repeatCommands = #'((volta "1."))
>   \voltaI
>   \set Score.repeatCommands = #'((volta #f) (volta "2. 3. 4.") end-repeat)
>   \voltaII
>   \set Score.repeatCommands = #'((volta #f) (volta "5.") end-repeat)
>   \voltaIII
>   \set Score.repeatCommands = #'((volta #f))
>   \bar "|."
> }
>
> \markup "Default w/o \unfoldRepeats"
> \score {
>   \musicI
>   \layout { }
>   \midi { }
> }
>
> \markup "Default unfold is 1.-3. -> Volta 1, 4. -> Volta 2 and 5. -> Volta
> 3"
> \score {
>   \unfoldRepeats \musicI
>   \layout { }
>   \midi { }
> }
>
>
> \markup "This is what I want..."
> \score {
>   \musicII
>   \layout { }
>   \midi { }
> }
>
> \markup "...but \unfoldRepeats does not deal with it"
> \score {
>   \unfoldRepeats \musicII
>   \layout { }
>   \midi { }
> }
>
> \markup "Of course I could enforce it manually"
> \score {
>   { \body \voltaI \repeat unfold 3 { \body \voltaII } \body \voltaIII \bar
> "|." }
>   \layout { }
>   \midi { }
> }
>
> \markup "How should I change \musicII to enable \unfoldRepeats to work the
> way I want it?"
> \markup "Is there a way to tell \alternative which repeats in which volta
> (and the volta texts)?"
> %---
>
> Kind regards,
> Michael
> --
> Michael Gerdau email: m...@qata.de
>
>
>
>
> Not exactly what you asked for, but one possible approach is to use tags.
>
> Tags allow for conditional use of material.
>
> In this case, you would add a tag that is specific to MIDI
> and put the repetitions in a similar way you did in the "manual" version.
>
> Then, have two different scores, one for PDF and one for MIDI,
> which use different tags.
>
> Even in the printed score, you need to use the \keepWithTag command,
> even though there is no PDF-specific content here,
> in order to keep the MIDI-tagged content out.
>
> Note that the tag names "MIDI" and "PDF" are just arbitrary words,
> there is no intrinsic significance to them.
>
> This approach becomes handy when coding other differences for MIDI,
>
> such as fermatas, breaths, rit/accel, trills.
>
>
>
> \version "2.19.81"
>
>
> body = { c'4 c' c' c' }
> voltaI = { d'4 d' d' d' }
> voltaII = { e'4 e' e' e' }
> voltaIII = { g'4 g' g' g' }
>
> music = {
>   \repeat volta 5 \body
>   \set Score.repeatCommands = #'((volta "1."))
>   \voltaI
>   \tag #'MIDI { \body }
>
>   \set Score.repeatCommands = #'((volta #f) (volta "2. 3. 4.") end-repeat)
>   \voltaII
>   \tag #'MIDI {
>   \body \voltaII
>   \body \voltaII
>   \body }
>
>   \set Score.repeatCommands = #'((volta #f) (volta "5.") end-repeat)
>   \voltaIII
>   \set Score.repeatCommands = #'((volta #f))
>   \bar "|."
> }
>
> \score {
>   \keepWithTag #'PDF \music
>   \layout { }
> }
>
> \score {
>   \keepWithTag #'MIDI \music
>   \midi { }
> }
>
>
>
> HTH,
>
>
> Elaine Alt

Re: Help with Midi

[Hwaen Ch'uqi]

Greetings David,

You are echoing many questions that I have had for quite a while. The
only tidbit that I can offer is that, using the freepats sound font,
nonpitched percussion seems to work. Once you have installed freepats,
go into your /etc/timidity/timidity.cfg file, and you should find a
line that says:

# source /etc/timidity/freepats.cfg

Uncomment that line and comment the line showing where fluidr3_gm is
found, and then the freepats should be accessible. Interestingly, the
first line of the freepats.cfg file reads:

dir /usr/share/midi/freepats

Looking at that directory, one finds two subdirectories containing the
various .pat files that are the basis of that sound font. What I
wonder is whether or not other .pat files - assuming that this is the
common extension used in other sound fonts (I have absolutely no idea
of this) - could be swapped in or out to create the ideal set of
sounds that you are looking for. Has anyone else thoughts on this or
other of David's questions?

Hwaen Ch'uqi


On 8/14/20, David Sumbler  wrote:
> When working on a project in Lilypond I usually set things up to
> generate midi files as well as printable output, mainly for note-
> checking.  But it is interesting to generate an ensemble midi file too.
> I play these files with TiMidity, using the fluidr3_gm soundfont.
>
> I know the (very) basics about midi instruments (although I'm a bit
> vague about midi channels), and I know how to improve things by using
> timidity to generate wav files which I can import into qtractor or
> similar and then edit the combined result.
>
> What I am about to ask is not really a Lilypond question at all (at
> least, I don't think it is), but I am hoping that somebody on this list
> can point me in the right direction.  Clearly I am not making the right
> searches on line, because I have never managed to find the information
> I want.
>
> What I should like to know is
> 1) how can I use drum and other untuned percussion sounds?
> 2) I notice that fluidr3_gm has dozens - probably hundreds - of extra
> sounds and instruments beyond the standard 128.  How can I access
> these?
> 3) how can I use other soundfonts?  There seem to be a lot of free
> soundfonts available on line, but I have no idea how I would use them.
> It would be nice to have a decent trumpet sound (the fluidr3-gm one is
> very poor), the sound of violin section as will as solo violin, string
> harmonics, timpani roll and so on.
>
> Can anyone point me to a useful online source of such information?
>
> David
>
>
>
>

Re: Help with Midi

[Gilles Sadowski]

Hi.

2020-08-14 17:49 UTC+02:00, David Sumbler :
> When working on a project in Lilypond I usually set things up to
> generate midi files as well as printable output, mainly for note-
> checking.  But it is interesting to generate an ensemble midi file too.
> I play these files with TiMidity, using the fluidr3_gm soundfont.
>
> I know the (very) basics about midi instruments (although I'm a bit
> vague about midi channels), and I know how to improve things by using
> timidity to generate wav files which I can import into qtractor or
> similar and then edit the combined result.
>
> What I am about to ask is not really a Lilypond question at all (at
> least, I don't think it is), but I am hoping that somebody on this list
> can point me in the right direction.  Clearly I am not making the right
> searches on line, because I have never managed to find the information
> I want.
>
> What I should like to know is
> 1) how can I use drum and other untuned percussion sounds?

http://lilypond.org/doc/v2.19/Documentation/web/source/Documentation/notation/common-notation-for-percussion#basic-percussion-notation

http://lilypond.org/doc/v2.19/Documentation/web/source/Documentation/notation/percussion-notes

> 2) I notice that fluidr3_gm has dozens - probably hundreds - of extra
> sounds and instruments beyond the standard 128.  How can I access
> these?

On Linux, looking at
/etc/timidity/freepats.cfg
might give some ideas.

> 3) how can I use other soundfonts?

First line of the above configuration file reads
---CUT---
dir /usr/share/midi/freepats
---CUT---

$ ls /usr/share/midi/freepats
Drum_000  Tone_000

> There seem to be a lot of free
> soundfonts available on line, but I have no idea how I would use them.
> It would be nice to have a decent trumpet sound (the fluidr3-gm one is
> very poor), the sound of violin section as will as solo violin, string
> harmonics, timpani roll and so on.
>
> Can anyone point me to a useful online source of such information?

https://apfelboymchen.net/gnu/notes/timidity++%20multiple%20soundfonts.html

https://freepats.zenvoid.org/


HTH,
Gilles

Re: kind of OT: bach inventions

[Flaming Hakama by Elaine]

Thanks again.  I was able to get all of the files from the Portuguese
mutopia.

I was initially looking for number 4, and once got that, I also worked on
number 1.

The mutopia were version 2.11, and I only had one issue with convert-ly
regarding _\fermata I believe.  I'm still on the 2.19.

http://davidelainealt.com/lessons/pdf/songs/inventions/04.pdf



On Sat, Aug 15, 2020, 7:05 AM Knute Snortum  wrote:

> I have all of them from Mutopia on my disk.  Which one do you want?
>
> ---
> Knute Snortum
> (via Gmail)
>
>
> On Fri, Aug 14, 2020 at 1:17 PM Mark Stephen Mrotek 
> wrote:
>
>> Elaine,
>>
>>
>>
>> I have my codes for 6, 12, and 13.
>>
>>
>>
>> Mark
>>
>>
>>
>> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
>> ca.rr@gnu.org] *On Behalf Of *Flaming Hakama by Elaine
>> *Sent:* Friday, August 14, 2020 12:00 PM
>> *To:* Lilypond-User Mailing List 
>> *Subject:* kind of OT: bach inventions
>>
>>
>>
>>
>>
>> I was working with one of the Bach inventions and was trying to find
>> public domain lilypond source, of either just the notes or an actual
>> edition.
>>
>>
>>
>> All of mutopia's links seem to be down atm, was wondering if anyone
>> happened to know of such a resource that is available.
>>
>>
>>
>>
>> https://www.mutopiaproject.org/cgibin/make-table.cgi?collection=bachis&preview=1
>>
>> Sorry, no matches were found for your search criteria.
>>
>>
>>
>>
>>
>> Thanks,
>>
>>
>> Elaine Alt
>>
>> 415 . 341 .4954   "*Confusion is
>> highly underrated*"
>>
>> ela...@flaminghakama.com
>>
>> Producer ~ Composer ~ Instrumentalist ~ Educator
>>
>> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
>>
>>
>>
>>
>>
>> On Tue, Aug 11, 2020 at 7:29 AM Flaming Hakama by Elaine <
>> ela...@flaminghakama.com> wrote:
>>
>> -- Forwarded message --
>> From: Michael Gerdau 
>> To: Lilypond User 
>> Date: Sat, 18 Jul 2020 07:57:23 +0200 (CEST)
>> Subject: Q: Irregular alternate repeats and MIDI
>> Hi List,
>>
>> I have a score with repeats and irregular alternate endings. I can neatly
>> engrave that but I don't seem to be able to produce correct MIDI w/o
>> manually arranging all segments.
>>
>> Does someone has a trick up his sleeve?
>> I found mails regarding this problem in the archive dating back to
>> 2008...
>>
>> Here is my "kind of" MWE:
>> %---
>> \version "2.21.2"
>>
>> body = { c'4 c' c' c' }
>> voltaI = { d'4 d' d' d' }
>> voltaII = { e'4 e' e' e' }
>> voltaIII = { g'4 g' g' g' }
>>
>> musicI = {
>>   \repeat volta 5 \body
>>   \alternative {
>> \voltaI
>> \voltaII
>> \voltaIII
>>   }
>>   \bar "|."
>> }
>>
>> musicII = {
>>   \repeat volta 5 \body
>>   \set Score.repeatCommands = #'((volta "1."))
>>   \voltaI
>>   \set Score.repeatCommands = #'((volta #f) (volta "2. 3. 4.") end-repeat)
>>   \voltaII
>>   \set Score.repeatCommands = #'((volta #f) (volta "5.") end-repeat)
>>   \voltaIII
>>   \set Score.repeatCommands = #'((volta #f))
>>   \bar "|."
>> }
>>
>> \markup "Default w/o \unfoldRepeats"
>> \score {
>>   \musicI
>>   \layout { }
>>   \midi { }
>> }
>>
>> \markup "Default unfold is 1.-3. -> Volta 1, 4. -> Volta 2 and 5. ->
>> Volta 3"
>> \score {
>>   \unfoldRepeats \musicI
>>   \layout { }
>>   \midi { }
>> }
>>
>>
>> \markup "This is what I want..."
>> \score {
>>   \musicII
>>   \layout { }
>>   \midi { }
>> }
>>
>> \markup "...but \unfoldRepeats does not deal with it"
>> \score {
>>   \unfoldRepeats \musicII
>>   \layout { }
>>   \midi { }
>> }
>>
>> \markup "Of course I could enforce it manually"
>> \score {
>>   { \body \voltaI \repeat unfold 3 { \body \voltaII } \body \voltaIII
>> \bar "|." }
>>   \layout { }
>>   \midi { }
>> }
>>
>> \markup "How should I change \musicII to enable \unfoldRepeats to work
>> the way I want it?"
>> \markup "Is there a way to tell \alternative which repeats in which volta
>> (and the volta texts)?"
>> %---
>>
>> Kind regards,
>> Michael
>> --
>> Michael Gerdau email: m...@qata.de
>>
>>
>>
>>
>> Not exactly what you asked for, but one possible approach is to use tags.
>>
>> Tags allow for conditional use of material.
>>
>> In this case, you would add a tag that is specific to MIDI
>> and put the repetitions in a similar way you did in the "manual" version.
>>
>> Then, have two different scores, one for PDF and one for MIDI,
>> which use different tags.
>>
>> Even in the printed score, you need to use the \keepWithTag command,
>> even though there is no PDF-specific content here,
>> in order to keep the MIDI-tagged content out.
>>
>> Note that the tag names "MIDI" and "PDF" are just arbitrary words,
>> there is no intrinsic significance to them.
>>
>> This approach becomes handy when coding other differences for MIDI,
>>
>> such as fermatas, breaths, rit/accel, trills.
>>
>>
>>
>> \version "2.19.81"
>>
>>
>> body = { c'4 c' c' c' }
>> voltaI = { d'4 d' d' d' }
>> voltaII = { e'4 e' e' e' }
>> voltaIII = { 

Re: Help with Midi

[Flaming Hakama by Elaine]

>
>
>   1. Re: Help with Midi (Hwaen Ch'uqi)
>2. Re: kind of OT: bach inventions (Flaming Hakama by Elaine)
>


> > What I should like to know is
> > 1) how can I use drum and other untuned percussion sounds?
> > 2) I notice that fluidr3_gm has dozens - probably hundreds - of extra
> > sounds and instruments beyond the standard 128.  How can I access
> > these?
> > 3) how can I use other soundfonts?  There seem to be a lot of free
> > soundfonts available on line, but I have no idea how I would use them.
> > It would be nice to have a decent trumpet sound (the fluidr3-gm one is
> > very poor), the sound of violin section as will as solo violin, string
> > harmonics, timpani roll and so on.
> >
> > Can anyone point me to a useful online source of such information?
> >
> > David
>



Not of immediate help, since I use Logic and Cubase for MIDI -> audio
but I can attest that using the lilypond drum sounds
does translate to drum sounds when you choose an appropriate drum patch.

Elaine

The grace issue

[Andrew Bernard]

I need to put the grace note in the top voice before the bar. I use
this technique throughout my score and it works fine:

\grace { \bar "" c'8 \bar "\" }

I am also aware of the notorious issue with grace notes where I have
to put spacer filler graces in all staves to make it all line up.
Although tedious, that workaround for the issue seen in the attached
image is acceptable.

But, in this case, with long notes in the other staves, I don't see
how I can get a spacer grace filler in the needed place.

Any suggestions?

May I ask with the most polite respect is there any chance that this
grace note issue will ever get resolved? Perhaps it's simply not
possible in lilypond for technical reasons? What makes this a
difficult problem?

Andrew

Re: The grace issue

[Mark Knoop]

At 01:55 on 15 Aug 2020, Andrew Bernard wrote:
> I need to put the grace note in the top voice before the bar. I use
> this technique throughout my score and it works fine:
>
> \grace { \bar "" c'8 \bar "\" }
>
> I am also aware of the notorious issue with grace notes where I have
> to put spacer filler graces in all staves to make it all line up.
> Although tedious, that workaround for the issue seen in the attached
> image is acceptable.
>
> But, in this case, with long notes in the other staves, I don't see
> how I can get a spacer grace filler in the needed place.
>
> Any suggestions?

Hi Andrew,

This is untested, but perhaps:

{
  \once \set tieWaitForNote = ##t
  c'1*1/4~ \grace s8 s1*3/4 | c'1
}

will work?

--
Mark Knoop

How to write chords of different durations?

[Kenneth Wolcott]

Hi;

  Another beginner question here.

  I'm still learning the basics of lLilypond engraving.

  I'm using a pre-existing piece of music as an engraving exercise
that involves piano and voice.

  When either (or both) of the piano parts have chords of the same
duration, this is fairly simple for me to understand.  However, then
either (or both) the left hand or right hand chord splits into
different durations, I am puzzled how to engrave this.

  Here is one example of what I'm trying to engrave:

the right hand of one particular measure has "bf2." and "d2 f8 bf"
(this is 3/4 time).

How to engrave this? Do I need distinct voices for this?

Thanks,
Ken Wolcott

Re: The grace issue

[Karlin High]

On Sat, Aug 15, 2020 at 11:46 AM Andrew Bernard
 wrote:
> May I ask with the most polite respect is there any chance that this
> grace note issue will ever get resolved? Perhaps it's simply not
> possible in lilypond for technical reasons? What makes this a
> difficult problem?

I am reminded of a thread from February 2020...

-- 
Karlin High
Missouri, USA

Re: The grace issue

[Andrew Bernard]

Perhaps I should clarify the example - it's the second g sharp grace
that also has to go before the bar.

Andrew

Re: Is there a way to patch the lyrics tie character?

[Thomas Morley]

Am Fr., 14. Aug. 2020 um 16:10 Uhr schrieb Fernando Gil :
>
> Hello to everyone, I'm struggled with the lyrics tie character when using an 
> alternate font from Music Type Foundry.
>
> Since lilypond uses character from the music font, when using an alternate 
> font with the character missing, it doesn't show.
>
> I have a workaround that goes like this:
>
> Cuer -- \markup {po\hspace #-0.3  \override #'(font-name . "emmentaler-20") 
> \char ##xe196 \hspace #-0.3 y}
>
> But when transcribing 8 stanzas there's certainly much better to use the 
> simplicity of "~" (i.e. Cuer -- po~y) rather than my workaround.
>
> I imagine there's a chance to achieve what I'm looking with a cleaner way but 
> have no clue where to start. Hope you can help me. Thanks in advance.

Hi Fernando,

I can't reproduce your problem, because you didn't tell us how you
used music-fonts in which way etc.
Trying to make any sense of your example I come to
\new Lyrics \lyricmode {
Cuer -- \markup { po\hspace #-0.3  \override #'(font-name .
"emmentaler-20") \char ##xe196 \hspace #-0.3 y
}
}

Which always returns a small "x" instead of the tie.

Ofcourse this small "x" can be done automatically:

#(define-markup-command (my-tied-lyric layout props str)
  (string?)
  #:category music
  #:properties ((word-space))
  "
@cindex simple text string, with tie characters

Like simple-markup, but use tie characters for @q{~} tilde symbols.

@lilypond[verbatim,quote]
\\markup \\column {
  \\tied-lyric #\"Siam navi~all'onde~algenti Lasciate~in abbandono\"
  \\tied-lyric #\"Impetuosi venti I nostri~affetti sono\"
  \\tied-lyric #\"Ogni diletto~e scoglio Tutta la vita~e~un mar.\"
}
@end lilypond"
  (define (replace-ties tie str)
(if (string-contains str "~")
(let*
((half-space (/ word-space 2))
 (parts (string-split str #\~))
 (tie-str (make-line-markup
   (list
(make-hspace-markup half-space)
tie
(make-hspace-markup half-space
 (joined  (list-join parts tie-str)))
  (make-concat-markup joined))
str))

  (define short-tie-regexp (make-regexp "~[^.]~"))
  (define (match-short str) (regexp-exec short-tie-regexp str))

  (define (replace-short str mkp)
(let ((match (match-short str))
  (my-tie
#{
   \markup {
 \override #'(font-name . "emmentaler-20")
 \char ##xe196
   }
#}))
  (if (not match)
  (make-concat-markup (list
   mkp
   (replace-ties
 my-tie ;"ties.lyric.default"
 str)))
  (let ((new-str (match:suffix match))
(new-mkp (make-concat-markup (list
  mkp
  (replace-ties
my-tie ;"ties.lyric.default"
(match:prefix match))
  (replace-ties
my-tie ;"ties.lyric.short"
(match:substring match))
(replace-short new-str new-mkp)

  (interpret-markup layout
props
(replace-short str (markup

#(define-public (my-lyric-text::print grob)
  "Allow interpretation of tildes as lyric tieing marks."

  (let ((text (ly:grob-property grob 'text)))

(grob-interpret-markup grob (if (string? text)
(make-my-tied-lyric-markup text)
text

\new Lyrics \lyricmode {
  \override LyricText.stencil = #my-lyric-text::print
  Cuer -- po~y
}

Alas, I've no idea if it's close to your wishes at all...


Cheers,
  Harm

Re: The grace issue

[Thomas Morley]

Hi Andrew,

Am Sa., 15. Aug. 2020 um 18:46 Uhr schrieb Andrew Bernard
:
>
> I need to put the grace note in the top voice before the bar. I use
> this technique throughout my score and it works fine:
>
> \grace { \bar "" c'8 \bar "\" }
>
> I am also aware of the notorious issue with grace notes where I have
> to put spacer filler graces in all staves to make it all line up.
> Although tedious, that workaround for the issue seen in the attached
> image is acceptable.
>
> But, in this case, with long notes in the other staves, I don't see
> how I can get a spacer grace filler in the needed place.
>
> Any suggestions?

I don't get the problem. The following works imho

\new StaffGroup
<<
  \new Staff {
   \grace { \bar "" gis''8 \bar "|" } c''1
   \grace { \bar "" gis''8 \bar "|" } c''1
   \grace { \bar "" gis''8 \bar "|" } c''1
  }
  \new Staff { c'1~ 1~ 1 }
>>

Obviously I'm missing something...

>
> May I ask with the most polite respect is there any chance that this
> grace note issue will ever get resolved? Perhaps it's simply not
> possible in lilypond for technical reasons? What makes this a
> difficult problem?
>
> Andrew

Well, issue 34 is located deep, deep in LilyPond's heart and brain.
Up to now, nobody found a convincing fix.

Nevertheless, you may follow the link I gave here
https://gitlab.com/lilypond/lilypond/-/issues/34#note_339729636
and try it out. (Although it's limited to where issue 34 concerns repeats)

Cheers,
  Harm

RE: The grace issue

[Mark Stephen Mrotek]

Andrew,

I code only piano scores. My experience is that the "grace issue" only arises 
at the beginning of a system (either partial or whole measure).
Graces that occur in subsequent measures do not require the "spacer grace" in 
the other voice.

M

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Andrew Bernard
Sent: Friday, August 14, 2020 5:55 PM
To: lilypond-user Mailinglist 
Subject: The grace issue

I need to put the grace note in the top voice before the bar. I use this 
technique throughout my score and it works fine:

\grace { \bar "" c'8 \bar "\" }

I am also aware of the notorious issue with grace notes where I have to put 
spacer filler graces in all staves to make it all line up.
Although tedious, that workaround for the issue seen in the attached image is 
acceptable.

But, in this case, with long notes in the other staves, I don't see how I can 
get a spacer grace filler in the needed place.

Any suggestions?

May I ask with the most polite respect is there any chance that this grace note 
issue will ever get resolved? Perhaps it's simply not possible in lilypond for 
technical reasons? What makes this a difficult problem?

Andrew

Augmention dotts with \tabFullNotation

[Andreas Stenberg]

Hi!

I'm fidling around with an edition containing among other things a 
version the piece edited from a Petrucci print from 1509 where some 
parts of the original fourpart song are intabulated into italian lute 
tablature.


My last effort to get at least a credible look-alike of the original 
print (this will be an edition containing both diplomatorical and 
practical editions of the versions of the piece) involves using the 
\tabFullNotation in tablaur and tweeking outlook, placement etc of stems 
and flags. The present problem is with dotted notes. With a (two note) 
chord I get as many augmention dots and mooving the around will move 
both of them.


I need a way to supress the unnecessary extra dott (that goes into some 
wrry annoying and weird places when mooving the dott needed to its place 
just beneeth the flagg.


Here's an example. (Also enclosed as file) A Jpg on wath it should look 
like is enclosed. One example of this probleme is in bar 2 in the 
tabalature in the examples.


\version "2.20.0"

\include "deutsch.ly"

ficta = {
  \once \set suggestAccidentals =##t
}


rythmUp = {

  \once \override Dots.extra-offset = #'(0.0 . 1)
  \once \override Stem.extra-offset = #'(0.0 . 3)
  \once \override Flag.extra-offset = #'(0.0 . 3)
}
rythmUpB = {

  \once \override Dots.extra-offset = #'(0.0 . 1)
  \once \override Stem.extra-offset = #'(0.0 . 2)
  \once \override Flag.extra-offset = #'(0.0 . 2)
}


symbols = {
 \key f \major

 \time 2/2
 \set Timing.measureLength = #(ly:make-moment 4/2)

  \omit Clef
  \override Staff.TimeSignature.style = #'mensural
  \omit NoteHead
  \stemUp
  \autoBeamOff
  \override Flag.stencil = #old-straight-flag
  \override Stem.thickness = #1.0
  \override Dots.extra-offset = #'(0.0 . 1)
  \override Stem.extra-offset = #'(0.0 . 1)
  \override Flag.extra-offset = #'(0.0 . 1)



 8*4 16*4 \rythmUp 
16*4_. 8*4 8*4


 8.*4 \rythmUpB 16*4_. a\3 >4*4



}

voicePart = <<
  \new Voice = "discantus" \relative c' {
    \set Staff.midiInstrument = "choir aahs"
    %\clef "petrucci-g"
    \clef "petrucci-c2"
    \override Staff.NoteHead.style = #'petrucci
    \override Staff.Rest.style = #'mensural
    \override Staff.TimeSignature.style = #'mensural
  \override Staff.KeySignature.glyph-name-alist =
  #alteration-mensural-glyph-name-alist

    \override Staff.Accidental.glyph-name-alist =
  #alteration-mensural-glyph-name-alist
  \override Staff.AccidentalSuggestion.glyph-name-alist =
  #alteration-mensural-glyph-name-alist

  %\transpose c b,
    {
  \key f \major
  \relative c' {

    f2 e4\melisma d4\melismaEnd c2 d2~

    d2 \ficta cis4\melisma \ficta h4\melismaEnd \ficta cis!1


  }
    }
  }
  \new Lyrics \lyricsto "discantus" {
    dis -- si chi miei di sian
  }
>>




\score {
  <<
  \voicePart
  \new TabStaff \with { stringTunings = #`( ,(ly:make-pitch -2 5 
NATURAL) ,(ly:make-pitch -1 1 NATURAL) ,(ly:make-pitch -1 4 NATURAL) 
,(ly:make-pitch -1 6 NATURAL) ,(ly:make-pitch 0 2 NATURAL) 
,(ly:make-pitch 0 5 NATURAL) )

   \hide Clef
} {

    \tabFullNotation
  \removeWithTag #'Sound
    \symbols
  }
  >>
  \layout {}
}

Yours Andreas Stenberg


\version "2.20.0"

\include "deutsch.ly"

ficta = {
  \once \set suggestAccidentals =##t
}


rythmUp = {

  \once \override Dots.extra-offset = #'(0.0 . 1)
  \once \override Stem.extra-offset = #'(0.0 . 3)
  \once \override Flag.extra-offset = #'(0.0 . 3)
}
rythmUpB = {

  \once \override Dots.extra-offset = #'(0.0 . 1)
  \once \override Stem.extra-offset = #'(0.0 . 2)
  \once \override Flag.extra-offset = #'(0.0 . 2)
}


symbols = {
 \key f \major

 \time 2/2
 \set Timing.measureLength = #(ly:make-moment 4/2)

  \omit Clef
  \override Staff.TimeSignature.style = #'mensural
  \omit NoteHead
  \stemUp
  \autoBeamOff
  \override Flag.stencil = #old-straight-flag
  \override Stem.thickness = #1.0
  \override Dots.extra-offset = #'(0.0 . 1)
  \override Stem.extra-offset = #'(0.0 . 1)
  \override Flag.extra-offset = #'(0.0 . 1)



 8*4 16*4 \rythmUp 16*4_. 8*4  8*4

 8.*4 \rythmUpB 16*4_. 4*4


}

voicePart = <<
  \new Voice = "discantus" \relative c' {
\set Staff.midiInstrument = "choir aahs"
%\clef "petrucci-g"
\clef "petrucci-c2"
\override Staff.NoteHead.style = #'petrucci
\override Staff.Rest.style = #'mensural
\override Staff.TimeSignature.style = #'mensural
  \override Staff.KeySignature.glyph-name-alist =
  #alteration-mensural-glyph-name-alist

\override Staff.Accidental.glyph-name-alist =
  #alteration-mensural-glyph-name-alist
  \override Staff.AccidentalSuggestion.glyph-name-alist =
  #alteration-mensural-

Re: How to write chords of different durations?

[Robin Bannister]

Kenneth Wolcott wrote:


the right hand of one particular measure has "bf2." and "d2 f8 bf"
(this is 3/4 time).

How to engrave this? Do I need distinct voices for this?


Yes.
These voices must be made to run simultaneously. Use << >> brackets.
That way, the durations in one voice don't interfere with the durations 
in the other voice.


This is shown in the Notation Reference
http://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#-Explicitly-instantiating-voices
but that example doesn't have any chords.


I've attached a snippet which combines single notes and chords in 
different situations.



Cheers,
Robin

\version "2.20.0"

global = {
  \key c \major
  \time 3/4
  \mergeDifferentlyHeadedOn
  \mergeDifferentlyDottedOn
}

sopMusic =  \transpose c c' { \voiceOne  
  g,4 c8.[ c16] e8.[ e16] |
  4 4. e8 |
  4 4. e8 |
  8.[ 16] 2 |
  g,4 b,8.[ b,16] d8.[ d16] |
  f4 f4. e8 _~ |
  4 f4. e8 |
  d4 c2 |
}

altoMusic =  \transpose c c' { \voiceTwo
  s2. |
  c2 s4 |
  c2 s4 |
  s2. |
  g,2. |
  b,4 ^~ 4. s8 |
  b,2 4 |
  g,2 s4 |
}

tenorMusic = { \voiceOne 
  e4 e4 g4 |   
  s2. |
  s2 g4 |
  s2. |
  f2. |
  s2. |
  s4 a4. s8 |
  f4 e2 |
}

bassMusic = { \voiceTwo
  c2. |
  c2 g4 |
  c2. |
  g2 d4 ~ |
  d4 g,4 b,4 |
  d2 g4 |
  g,2. |
  c2 g,4 |
}

\score {
  \new PianoStaff <<
\new Staff { \global  
  << 
\new Voice \sopMusic 
\new Voice \altoMusic  
  >>
}
\new Staff{ \clef bass \global 
  << 
\new Voice \tenorMusic 
\new Voice \bassMusic 
  >>
}
  >>
  \layout {}
}

Re: Is there a way to patch the lyrics tie character?

[Fernando Gil]

Hello Harm!
Thank you so much it works neat!

I've integrated that code to my .ily file that is attached here (without
some of the tweaks from the original .ily included in the font distribution
to avoid copyright issues with the font developer) so you can see how's my
font implementation then I simply call it in my score using \include
"[...].ily"

You'll notice I tweaked a bit the size of the tie character triying to
match lilypond's default output.

It seems odd to me you've mentioned a little x instead of the
lyrics.tie.default character when using \char ##xe196 you'll see in the
other attachment I obtain my desired output using that code. (Cuerpo‿y)

I'm going to adventure myself further away from my original question but
here I go: sometimes even in default output (using emmentaler and lyrics
default font) lyrics.tie.default character seems to colide (for example in
that same "Cuerpo~y" attached ) so looking at your code and documentation
seems to exist lyrics.tie.short I guess to avoid this, but I can't figure
it out on how to use it, perharps you or someone other reading can enlight
me with this.

Thanks again!



El sáb., 15 ago. 2020 a las 13:49, Thomas Morley ()
escribió:

> Am Fr., 14. Aug. 2020 um 16:10 Uhr schrieb Fernando Gil <
> fernando...@gmail.com>:
> >
> > Hello to everyone, I'm struggled with the lyrics tie character when
> using an alternate font from Music Type Foundry.
> >
> > Since lilypond uses character from the music font, when using an
> alternate font with the character missing, it doesn't show.
> >
> > I have a workaround that goes like this:
> >
> > Cuer -- \markup {po\hspace #-0.3  \override #'(font-name .
> "emmentaler-20") \char ##xe196 \hspace #-0.3 y}
> >
> > But when transcribing 8 stanzas there's certainly much better to use the
> simplicity of "~" (i.e. Cuer -- po~y) rather than my workaround.
> >
> > I imagine there's a chance to achieve what I'm looking with a cleaner
> way but have no clue where to start. Hope you can help me. Thanks in
> advance.
>
> Hi Fernando,
>
> I can't reproduce your problem, because you didn't tell us how you
> used music-fonts in which way etc.
> Trying to make any sense of your example I come to
> \new Lyrics \lyricmode {
> Cuer -- \markup { po\hspace #-0.3  \override #'(font-name .
> "emmentaler-20") \char ##xe196 \hspace #-0.3 y
> }
> }
>
> Which always returns a small "x" instead of the tie.
>
> Ofcourse this small "x" can be done automatically:
>
> #(define-markup-command (my-tied-lyric layout props str)
>   (string?)
>   #:category music
>   #:properties ((word-space))
>   "
> @cindex simple text string, with tie characters
>
> Like simple-markup, but use tie characters for @q{~} tilde symbols.
>
> @lilypond[verbatim,quote]
> \\markup \\column {
>   \\tied-lyric #\"Siam navi~all'onde~algenti Lasciate~in abbandono\"
>   \\tied-lyric #\"Impetuosi venti I nostri~affetti sono\"
>   \\tied-lyric #\"Ogni diletto~e scoglio Tutta la vita~e~un mar.\"
> }
> @end lilypond"
>   (define (replace-ties tie str)
> (if (string-contains str "~")
> (let*
> ((half-space (/ word-space 2))
>  (parts (string-split str #\~))
>  (tie-str (make-line-markup
>(list
> (make-hspace-markup half-space)
> tie
> (make-hspace-markup half-space
>  (joined  (list-join parts tie-str)))
>   (make-concat-markup joined))
> str))
>
>   (define short-tie-regexp (make-regexp "~[^.]~"))
>   (define (match-short str) (regexp-exec short-tie-regexp str))
>
>   (define (replace-short str mkp)
> (let ((match (match-short str))
>   (my-tie
> #{
>\markup {
>  \override #'(font-name . "emmentaler-20")
>  \char ##xe196
>}
> #}))
>   (if (not match)
>   (make-concat-markup (list
>mkp
>(replace-ties
>  my-tie ;"ties.lyric.default"
>  str)))
>   (let ((new-str (match:suffix match))
> (new-mkp (make-concat-markup (list
>   mkp
>   (replace-ties
> my-tie
> ;"ties.lyric.default"
> (match:prefix match))
>   (replace-ties
> my-tie ;"ties.lyric.short"
> (match:substring
> match))
> (replace-short new-str new-mkp)
>
>   (interpret-markup layout
> props
> (replace-short str (markup
>
> #(define-public (my-lyric-text::print grob)
>   "Allow interpretation of tildes as l

\path in markup dashed line

[Andrew Bernard]

Is there any way to get the \path command in a markup to draw dashed
lines? I am aware I can use postscript of course.

Andrew