Re: Blog posts, call for

[Jeffery Shivers]

I owe at least one of those blog posts myself since I have fallen behind
(or really, off) the GSoC scholarLY project since the summer ended. I'll be
contributing a few touch-ups to the code (in particular the LaTeX
package) in the coming weeks, and will follow that up with a blog
post/announcement/overview for everyone.

best wishes from frigid and snowy northern Iceland,

On Fri, Dec 23, 2016 at 5:28 PM, Devin Ulibarri 
wrote:

> Urs Liska:
> > I just scrolled through a few pages of the Scores of Beauty
> > (http://lilypondblog.org) site and find that - in addition to the facth
> > that the rate of posts has substantially dropped - my name appears just
> > too exclusively. This isn't "my" blog but the "semi-official LilyPond"
> blog.
>
> I did not even realize there was a lilypond blog... thanks for reminding
> everyone!
>
> > The range of possible topics is really broad and could include short
> > tutorials about a certain challenge you have just mastered with the help
> > of the community, general thoughts about music/notation software or
> > reports of your own activities. We would really love to have more posts
> > about projects done with LilyPond. These could go into some depth about
> > technical detail or just give an impression on how it was doing the
> > project with LilyPond and how musicians responded to it.
> > Or anything else I just didn't think of.
>
> Questions:
> 1) Would you be willing to publish an article about how Music Blocks (a
> visual coding language for music. Homepage at
> https://www.musicblocks.net) software generates lilypond code and how
> one can use Music Blocks software as an entry point to lilypond?
>
> 2) Would you be willing to publish articles created by High School
> students participating in Google Code-in (GCI)? I could draft a task and
> we could have some kids write about their experience learning Lilypond
> from Music Blocks. Of course, you would still have the final say as to
> whether or not the blog posts would meet your standards and be published.
>
> Otherwise, I could write something, but the above options would be fun
> and the idea is off the table in a few weeks as the GCI contest closes
> in mid-January.
>
> Best,
> Devin
>
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>



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Re: Frescobaldi at GSoC? Call for support

[Jeffery Shivers]

I don't feel (and objectively am not) qualified to mentor someone in any
capacity really, but if there is anything I can do to help (such as
administrative stuff, or otherwise), do let me know. Other than normal job
stuff, I don't have any big commitments from now through most of the
summer, so it would be a pleasure to assist in any way possible if even
just as a temporary placeholder for someone else more qualified to takeover
later.

I hope others out there will speak up as well, even if you're on the fence
for whatever reason. GSoC is a rare and generous opportunity to fund
awesome developments for a tool we all love so much; it would be great to
see more support for LilyPond's participation this year.

On Fri, Feb 3, 2017 at 12:32 PM, Urs Liska  wrote:

> Hi all,
>
> I have to bump this as the deadline is somewhat approaching and I need
> some feedback.
>
> We have by now a nice set of project proposals online, but there are
> some projects without a mentor yet. Basically what is needed is at least
> one more mentor who feels comfortable mentoring someone to work on the
> underlying document representation stuff (the "music tree").
>
> But while this is *important* it is absolutely *required* that we will
> have a second organization admin. Without that we can't even apply.
> Really, this is an opportunity to support Frescobaldi development for
> those who don't feel able to contribute any code, so please step up and
> volunteer. I don't expect this to be overwhelming with workload, please
> see below in my original post for some more details.
>
> Best
> Urs
>
>
> Am 31.01.2017 um 12:06 schrieb Urs Liska:
> > Hi all,
> >
> > we decided to apply for this year's Google Summer of Code program with
> > Frescobaldi. We don't expect the chances to be accepted very high, but
> > it's probably worth the effort. It would give the chance to get more
> > GSoC slots for the wider LilyPond cause, so it's definitely a good thing.
> >
> > In order to complete our application we need a few items *until Feb. 9
> > (next Thursday)*, and I would be very happy to see concrete support from
> > this community:
> >
> > 1)
> > It is an absolute requisite that we have a second "org admin".
> > Org admins are responsible for communication between the project and
> > Google. I think both Google and the project will hold them "accountable"
> > for that. In addition they promise to be available and reliably
> > responsive over the whole project period (i.e. from now on until late
> > October) (obviously that doesn't rule out any vacancies ...).
> > Furthermore they'll have to do some paperwork and possibly channel some
> > money, for example for reimbursing mentors going to the mentors' summit.
> >
> > This would be an ideal task for someone interested in actively
> > supporting Frescobaldi/LilyPond development who doesn't feel capable of
> > doing actual programming. This is a completely administrative task.
> >
> > I can't say how much work it will be, but given the (lack of) size of
> > the organization I can't imagine it's a lot.
> >
> > 2)
> > As part of the application we have to submit a number of potential
> > project mentors who have volunteered. Therefore it is crucial to gather
> > that information right now.
> >
> > On https://github.com/wbsoft/frescobaldi/wiki/Google-Summer-of-Code I've
> > drafted a project idea's list similar to the one on lilypond.org. This
> > is very much open for discussion and extension.
> >
> > So I ask anyone who can imagine mentoring a student for a Frescobaldi
> > project to have a look at that list, consider the options with the
> > proposed projects, feel free to suggest other projects you may prefer
> > mentoring.
> >
> > From last year's experience I know that it is difficult to get together
> > a team of potential mentors, so *please* take this call seriously and
> > consider joining the effort. Also from last year's experience I can say
> > that mentoring *does* take its time but it's definitely a worthwile
> > thing to do.
> >
> > Best
> > Urs
> >
> >
>
> --
> u...@openlilylib.org
> https://openlilylib.org
> http://lilypondblog.org
>
>
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Re: Frescobaldi at GSoC? Call for support

[Jeffery Shivers]

>
> With regard to the org admins there is no room for
> placeholders/switching, I think. Registering as org admin is a
> "permanent" task, so one has to take over *some* responsibility from
> "now" to November. *If* the organization is actually accepted by Google,
> which in the case of Frescobaldi is more than questionable, given our
> small size.


Got it.

The most important point is to do the commitment to - if we're selected
> - stick with it over the year, most of the time having nothing to do but
> ensuring at least one admin is constantly available.


​That sounds just fine. I'm willing/able to take on that responsibility.
Let me know (off list now, I guess) what I need to do or know for now.

Jeffery

On Fri, Feb 3, 2017 at 2:25 PM, Urs Liska  wrote:

> Hi Jeffery,
>
> Am 03.02.2017 um 18:58 schrieb Jeffery Shivers:
> > I don't feel (and objectively am not) qualified to mentor someone in any
> > capacity really, but if there is anything I can do to help (such as
> > administrative stuff, or otherwise), do let me know. Other than normal
> > job stuff, I don't have any big commitments from now through most of the
> > summer, so it would be a pleasure to assist in any way possible if even
> > just as a temporary placeholder for someone else more qualified to
> > takeover later.
>
> With regard to the org admins there is no room for
> placeholders/switching, I think. Registering as org admin is a
> "permanent" task, so one has to take over *some* responsibility from
> "now" to November. *If* the organization is actually accepted by Google,
> which in the case of Frescobaldi is more than questionable, given our
> small size.
>
> The primary duties of the two org admins (I'm the other one) is to be
> available for both (potential) mentors and Google. I think the org
> admins for large projects such as GNU, who have to shepard countless
> potential mentors, many organizations and eventually >40 active
> projects, have quite some work to do, but with Frescobaldi, where we
> won't have more than two projects in a first year, this should be really
> manageable.
>
> The most important point is to do the commitment to - if we're selected
> - stick with it over the year, most of the time having nothing to do but
> ensuring at least one admin is constantly available.
>
>
> >
> > I hope others out there will speak up as well, even if you're on the
> > fence for whatever reason. GSoC is a rare and generous opportunity to
> > fund awesome developments for a tool we all love so much; it would be
> > great to see more support for LilyPond's participation this year.
>
> Indeed it would be very good for us!
>
> Best
> Urs
>
> >
> > On Fri, Feb 3, 2017 at 12:32 PM, Urs Liska  > <mailto:u...@openlilylib.org>> wrote:
> >
> > Hi all,
> >
> > I have to bump this as the deadline is somewhat approaching and I
> need
> > some feedback.
> >
> > We have by now a nice set of project proposals online, but there are
> > some projects without a mentor yet. Basically what is needed is at
> least
> > one more mentor who feels comfortable mentoring someone to work on
> the
> > underlying document representation stuff (the "music tree").
> >
> > But while this is *important* it is absolutely *required* that we
> will
> > have a second organization admin. Without that we can't even apply.
> > Really, this is an opportunity to support Frescobaldi development for
> > those who don't feel able to contribute any code, so please step up
> and
> > volunteer. I don't expect this to be overwhelming with workload,
> please
> > see below in my original post for some more details.
> >
> > Best
> > Urs
> >
> >
> > Am 31.01.2017 um 12:06 schrieb Urs Liska:
> > > Hi all,
> > >
> > > we decided to apply for this year's Google Summer of Code program
> with
> > > Frescobaldi. We don't expect the chances to be accepted very high,
> but
> > > it's probably worth the effort. It would give the chance to get
> more
> > > GSoC slots for the wider LilyPond cause, so it's definitely a good
> > thing.
> > >
> > > In order to complete our application we need a few items *until
> Feb. 9
> > > (next Thursday)*, and I would be very happy to see concrete
> > support from
> > > this community:
> > >
> > > 1)
> > >

Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

Could you provide a MWE? Without any knowledge of how your project is
setup, we have to guess how exactly to help you.

Regarding automating measure numbers, you could write a scheme
function to calculate the next bar number following repeats, I think
using (ly:context  'measurePosition) and then factoring in
the number of times something is repeated.

If I understand correctly, you want the piano part to look different
(optimized) in its own document as opposed to how it will look in the
less-optimized score. I'm attaching a (not very elegant) suggestion of
how you might begin to automate things there as well (rewired etc. to
suit your setup). HTH

On Thu, Feb 16, 2017 at 10:07 AM, ptoye  wrote:
> What - no-one? Am I the only one playing minimalist music round here?
>
>
> ptoye wrote
>> I'm trying to engrave a highly repetitive piano part using repeats as much
>> as possible to save page-turns, but I need to display the bar numbers as
>> if the repeats were written out (other parts don't repeat). It seems to me
>> that this raises three issues, to none of which have I found a solution in
>> the manuals.
>>
>> 1) Notating the number of repeats automatically . One can do a markup of
>> "3×" on the repeat bar, so it's not a major problem, but Lilypond doesn't
>> seem to do this automatically, which is a bit of a shame.
>>
>> 2) Adjusting the bar count to take the repeated bars into account. For
>> example, if an 8-bar phrase is repeated 4 times, the bar count after the
>> end of the section is 33, rather than 9. Again, this can be done by
>> setting the bar number, but it would be useful to have a computer do the
>> arithmetic.
>>
>> 3) Displaying the multiple bar numbers. In the above example, displaying
>> something like "1-9-17-25". Without this, rehearsals will be a bit
>> fraught!
>>
>> Any help gratefully received,
>>
>> Peter
>> mailto:
>
>> lilypond@
>
>> www.ptoye.com
>> ___
>> lilypond-user mailing list
>
>> lilypond-user@
>
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>
>
>
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Bar-counts-and-repeats-in-repetitive-music-tp199814p200190.html
> Sent from the User mailing list archive at Nabble.com.
>
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repeats-test.ly
Description: Binary data
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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

> I think using (ly:context  'measurePosition)

Sorry, this is actually incorrect. `currentBarNumber` is what you need
to look up.

On Thu, Feb 16, 2017 at 12:31 PM, Jeffery Shivers
 wrote:
> Could you provide a MWE? Without any knowledge of how your project is
> setup, we have to guess how exactly to help you.
>
> Regarding automating measure numbers, you could write a scheme
> function to calculate the next bar number following repeats, I think
> using (ly:context  'measurePosition) and then factoring in
> the number of times something is repeated.
>
> If I understand correctly, you want the piano part to look different
> (optimized) in its own document as opposed to how it will look in the
> less-optimized score. I'm attaching a (not very elegant) suggestion of
> how you might begin to automate things there as well (rewired etc. to
> suit your setup). HTH
>
> On Thu, Feb 16, 2017 at 10:07 AM, ptoye  wrote:
>> What - no-one? Am I the only one playing minimalist music round here?
>>
>>
>> ptoye wrote
>>> I'm trying to engrave a highly repetitive piano part using repeats as much
>>> as possible to save page-turns, but I need to display the bar numbers as
>>> if the repeats were written out (other parts don't repeat). It seems to me
>>> that this raises three issues, to none of which have I found a solution in
>>> the manuals.
>>>
>>> 1) Notating the number of repeats automatically . One can do a markup of
>>> "3×" on the repeat bar, so it's not a major problem, but Lilypond doesn't
>>> seem to do this automatically, which is a bit of a shame.
>>>
>>> 2) Adjusting the bar count to take the repeated bars into account. For
>>> example, if an 8-bar phrase is repeated 4 times, the bar count after the
>>> end of the section is 33, rather than 9. Again, this can be done by
>>> setting the bar number, but it would be useful to have a computer do the
>>> arithmetic.
>>>
>>> 3) Displaying the multiple bar numbers. In the above example, displaying
>>> something like "1-9-17-25". Without this, rehearsals will be a bit
>>> fraught!
>>>
>>> Any help gratefully received,
>>>
>>> Peter
>>> mailto:
>>
>>> lilypond@
>>
>>> www.ptoye.com
>>> ___
>>> lilypond-user mailing list
>>
>>> lilypond-user@
>>
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>>
>>
>>
>> --
>> View this message in context: 
>> http://lilypond.1069038.n5.nabble.com/Bar-counts-and-repeats-in-repetitive-music-tp199814p200190.html
>> Sent from the User mailing list archive at Nabble.com.
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>
> --
>
> Jeffery Shivers
>  jefferyshivers.com
>  soundcloud.com/jefferyshivers



-- 

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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

Without investigating how the bar number engraver (I'm guessing, or
whatever engraves them), I am unsure how to correct what actually gets
*engraved* (which is obviously important), but here's a partial solution.

\adjustBarNum
​ applies the repeats and​
does the calculations
​,​
and seems to reset
​each​
 next *currentBarNumber* to what it should be. Maybe someone with more
knowledge of
​how
 bar number
​s are​
engrave
​d can​
have a look and see what is wrong/missing
​.​


=== begin snippet

adjustBarNum =
  #(define-music-function (num mus)
  (number? ly:music?)
  (define startBar 0)
  #{
#(make-apply-context
(lambda (context)
  (let ((currentBar (ly:context-property context
'currentBarNumber)))
(set! startBar currentBar
\repeat volta #num { #mus }
#(make-apply-context
(lambda (context)
  (let* ((endBar (ly:context-property context
'currentBarNumber))
   (repLength (+ (if (equal? startBar 1) 0 1)
  (- endBar startBar)))
  (lenScaled (* repLength num))
  (nextBar (+ startBar lenScaled)))
 (ly:context-set-property! context 'currentBarNumber
nextBar
  #})

\score {
  \new Staff {
\tempo 4 = 108
\clef "bass"
\time 4/4
\key f \minor
\override Score.BarNumber.break-visibility = #'#(#t #t #t)

\barNumberCheck #1
\adjustBarNum 4 { \rhPatternA }
% adds 4 bars ... (1 + 4 = 5)
\barNumberCheck #5
\adjustBarNum 16 { \rhPatternA }
% adds 16 bars ... (5 + 16 = 21)
\barNumberCheck #21
\adjustBarNum 4 { \rhPatternB }
% adds 4 bars ... (21 + 4 = 25)
\barNumberCheck #25
\adjustBarNum 2 {\rhPatternA }
  }
}

=== end snippet



On Thu, Feb 16, 2017 at 1:54 PM, ptoye  wrote:

> Thanks for your comments Jeffery.
>
> Here's some of the music I'm trying to set. I'm not worried about the full
> score aspect, just the piano part. As you can see, it doesn't indicate how
> many repetitions there should be, and the bar numbers don't increment
> correctly.
>
> This is just a one-bar repetition, so my third comment isn't relevant.
>
> I've been using currentBarNumber so your typo wasn't a problem.
>
> \version "2.19.52"
>
> \language "english"
>
> rhPatternA =
> {
>   \relative
>   {
> f,16 f r af af r ef ef r c ef c ef bf' af ef |
>   }
> }
>
> rhPatternB =
> {
>   \relative {
> bf,16-> bf af bf-> r4 r2 |
>   }
> }
> lhPatternA =
> { \relative
>   {
> f,,16 f r af af r ef ef r c ef c ef bf' af ef |
>   }
>
> }
> lhPatternB =
> {
>   \relative {
> bf,,16-> bf af bf-> r4 r2 |
>   }
>
> }
> \score {
>
>   \new Staff {
> \tempo 4 = 108
> \clef "bass"
> \time 4/4
> \key f \minor
> \repeat volta 4 {\rhPatternA } |
> \repeat volta 16 { \rhPatternA }
> \repeat volta 4 {\rhPatternB }
> \repeat volta 2 {\rhPatternA }
>   }
> }
>
>
>
>
> --
> View this message in context: http://lilypond.1069038.n5.
> nabble.com/Bar-counts-and-repeats-in-repetitive-music-tp199814p200204.html
> Sent from the User mailing list archive at Nabble.com.
>
> ___
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>



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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

> The bar number check works, but the printed bar numbers are still sequential, 
> which I don't understand.

It was clear that this was a context issue, but not so clear how to
address that. For the record, context-spec-music was the procedure
that makes this work. The following passes check and engraves as
intended:

=== begin snippet

repeatSect =
  #(define-music-function (parser location num mus)
(number? ly:music?)
(define startBar #f)
#{
  #(make-apply-context
  (lambda (context)
(let ((currentBar (ly:context-property context 'currentBarNumber)))
  (set! startBar currentBar
  \repeat volta #num { #mus }
  #(context-spec-music
  (make-apply-context
(lambda (context)
  (let* ((endBar (ly:context-property context 'currentBarNumber))
  (repLength (- endBar startBar))
  (lenScaled (* repLength num))
  (nextBar (+ startBar lenScaled)))
(ly:context-set-property! context 'currentBarNumber nextBar
  'Score)
#})

\score {
\new Staff {
  \override Score.BarNumber.break-visibility = #'#(#t #t #t)
\barNumberCheck #1
\repeatSect 4 { \rhPatternA }
% adds 4 bars ... (1 + 4 = 5)
\barNumberCheck #5
\repeatSect 16 { \rhPatternA }
% adds 16 bars ... (5 + 16 = 21)
\barNumberCheck #21
\repeatSect 4 { \rhPatternB }
% adds 4 bars ... (21 + 4 = 25)
\barNumberCheck #25
\repeatSect 2 { \rhPatternA }
  }
}

=== end snippet

> But it's also essential that the performer is told how many times to repeat 
> each fragment! At the moment I've chickened out and used percent repeats with 
> counts :(

I'll have a look at this - probably a matter of adding a new engraver;
I've seen a trick that used \Dynamic context to display centered
measure numbers before, so maybe something like that.

On Fri, Feb 17, 2017 at 11:44 AM, Peter Toye  wrote:
> Jeffery,
>
> Thanks. There's a lot to look at here, as I'm not (yet?) a Scheme/Guile
> programmer! But as you hint it doesn't seem to work, though. The bar number
> check works, but the printed bar numbers are still sequential, which I don't
> understand.
>
> But it's also essential that the performer is told how many times to repeat
> each fragment! At the moment I've chickened out and used percent repeats
> with counts :(
>
> Best regards,
>
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com
>
> -
>> Without investigating how the bar number engraver (I'm guessing, or
>> whatever engraves them), I am unsure how to correct what actually
>> gets *engraved* (which is obviously important), but here's a partial
>> solution.
>>
>> \adjustBarNum applies the repeats and does the calculations, and
>> seems to reset each next *currentBarNumber* to what it should be.
>> Maybe someone with more knowledge of how bar numbers are engraved
>> can have a look and see what is wrong/missing.



-- 

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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

>
​>​
 But it's also essential that the performer is told how many times to
repeat each fragment! At the moment I've chickened out and used percent
repeats with counts :(

​> ​
I'll have a look at this - probably a matter of adding a new engraver; I've
seen a trick that used \Dynamic context to display centered measure numbers
before, so maybe something like that.

If you don't care so much about the alignment though, you can just put a
markup in that repeat function. Like:

== snip

repeatSect =
#(define-music-function (parser location num mus)
  (number? ly:music?)
  (define startBar #f)
  #{
#(make-apply-context
  (lambda (context)
   (let ((currentBar (ly:context-property context 'currentBarNumber)))
 (set! startBar currentBar
   \mark \markup { \hspace #30 "repeat this" #(number->string num) "times" }
   \repeat volta #num { #mus }
   #(context-spec-music
   (make-apply-context
 (lambda (context)
   (let* ((endBar (ly:context-property context 'currentBarNumber))
   (repLength (- endBar startBar))
   (lenScaled (* repLength num))
   (nextBar (+ startBar lenScaled)))
 (ly:context-set-property! context 'currentBarNumber nextBar
   'Score)
 #})

== snip

On Fri, Feb 17, 2017 at 12:24 PM, Jeffery Shivers 
wrote:

> > The bar number check works, but the printed bar numbers are still
> sequential, which I don't understand.
>
> It was clear that this was a context issue, but not so clear how to
> address that. For the record, context-spec-music was the procedure
> that makes this work. The following passes check and engraves as
> intended:
>
> === begin snippet
>
> repeatSect =
>   #(define-music-function (parser location num mus)
> (number? ly:music?)
> (define startBar #f)
> #{
>   #(make-apply-context
>   (lambda (context)
> (let ((currentBar (ly:context-property context
> 'currentBarNumber)))
>   (set! startBar currentBar
>   \repeat volta #num { #mus }
>   #(context-spec-music
>   (make-apply-context
> (lambda (context)
>   (let* ((endBar (ly:context-property context
> 'currentBarNumber))
>   (repLength (- endBar startBar))
>   (lenScaled (* repLength num))
>   (nextBar (+ startBar lenScaled)))
> (ly:context-set-property! context 'currentBarNumber
> nextBar
>   'Score)
> #})
>
> \score {
> \new Staff {
>   \override Score.BarNumber.break-visibility = #'#(#t #t #t)
> \barNumberCheck #1
> \repeatSect 4 { \rhPatternA }
> % adds 4 bars ... (1 + 4 = 5)
> \barNumberCheck #5
> \repeatSect 16 { \rhPatternA }
> % adds 16 bars ... (5 + 16 = 21)
> \barNumberCheck #21
> \repeatSect 4 { \rhPatternB }
> % adds 4 bars ... (21 + 4 = 25)
> \barNumberCheck #25
> \repeatSect 2 { \rhPatternA }
>   }
> }
>
> === end snippet
>
> > But it's also essential that the performer is told how many times to
> repeat each fragment! At the moment I've chickened out and used percent
> repeats with counts :(
>
> I'll have a look at this - probably a matter of adding a new engraver;
> I've seen a trick that used \Dynamic context to display centered
> measure numbers before, so maybe something like that.
>
> On Fri, Feb 17, 2017 at 11:44 AM, Peter Toye  wrote:
> > Jeffery,
> >
> > Thanks. There's a lot to look at here, as I'm not (yet?) a Scheme/Guile
> > programmer! But as you hint it doesn't seem to work, though. The bar
> number
> > check works, but the printed bar numbers are still sequential, which I
> don't
> > understand.
> >
> > But it's also essential that the performer is told how many times to
> repeat
> > each fragment! At the moment I've chickened out and used percent repeats
> > with counts :(
> >
> > Best regards,
> >
> > Peter
> > mailto:lilyp...@ptoye.com
> > www.ptoye.com
> >
> > -
> >> Without investigating how the bar number engraver (I'm guessing, or
> >> whatever engraves them), I am unsure how to correct what actually
> >> gets *engraved* (which is obviously important), but here's a partial
> >> solution.
> >>
> >> \adjustBarNum applies the repeats and does the calculations, and
> >> seems to reset each next *currentBarNumber* to what it should be.
> >> Maybe someone with more knowledge of how bar numbers are engraved
> >> can have a look and see what is wrong/missing.
>
>
>
> --
>
> Jeffery Shivers
>  jefferyshivers.com
>  soundcloud.com/jefferyshivers
>



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staff line-count greater than 5: how to prevent/hide line at left of staff

[Jeffery Shivers]

Hi,

I am using a staff with (many) more than five lines, but when I
increase the line-count a vertical line appears to the left of the
staff. How do I prevent that from happening, or at least make that
line transparent?

\version "2.19.54"

\score {
  \new Staff {
\override Staff.StaffSymbol.line-count = #6
c'4
  }
}

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Re: staff line-count greater than 5: how to prevent/hide line at left of staff

[Jeffery Shivers]

On Sat, Feb 18, 2017 at 8:38 PM, Jeffery Shivers
 wrote:
> Hi,
>
> I am using a staff with (many) more than five lines, but when I
> increase the line-count a vertical line appears to the left of the
> staff. How do I prevent that from happening, or at least make that
> line transparent?


I see now that this is actually a reaction to y-extent being 10 or
greater. Still unsure how to get rid of the line though.

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Re: staff line-count greater than 5: how to prevent/hide line at left of staff

[Jeffery Shivers]

On Sat, Feb 18, 2017 at 8:51 PM, Andrew Bernard
 wrote:
> Hi Jeffery,
>
>   \override Score.SystemStartBar.collapse-height = #6
>
> Andrew

Wonderful, thank you Andrew!

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Re: Making the Dedication field align left

[Jeffery Shivers]

On Sat, Feb 25, 2017 at 3:02 PM, Chad Linsley  wrote:
> Hi all,
>
> I'm a Lilypond noob and am trying to customize the header. How do I override
> the "Dedication" so that it aligns left and not centre?

Hi Chad,

Have a look at ...

http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles

... and ...

http://lilypond.org/doc/v2.18/Documentation/notation/align

Try this:

\header {
  dedication = \markup \column {
\fill-with-pattern #2 #LEFT "" "Dedicated to You" ""
  }
  title = "Title"
}




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Re: Making the Dedication field align left

[Jeffery Shivers]

On Sat, Feb 25, 2017 at 3:39 PM, Jeffery Shivers
 wrote:
>
> Have a look at ...
>
> http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles

Oops, I mean: 
http://lilypond.org/doc/v2.18/Documentation/notation/titles-and-headers

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Re: Force tuplet number above notes

[Jeffery Shivers]

On Sat, Feb 25, 2017 at 4:18 PM, Knute Snortum  wrote:
> I am trying to get both tuplet numbers above the notes in the following
> code.  I've tried \override TupletNumber.direction = #UP, but evidently this
> does not work.  What's the correct way to do this?
>
> \version "2.19.55"
> \language "english"
>
> \relative {
>   \omit TupletBracket
>   \override TupletNumber.direction = #UP
>   \tuplet 3/2 2 { 4-> -> ->
> -> -> -> }
> }
>

Maybe not the correct/best answer, but try it this way:

== snip
\relative {
  \override TupletBracket #'direction = #UP
  \omit TupletBracket
  \tuplet 3/2 2 {
4-> -> ->
-> -> ->
  }
}
== snip

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Re: Fermata above and below bar line generates warnings

[Jeffery Shivers]

On Sat, Feb 25, 2017 at 4:42 PM, Knute Snortum  wrote:
> The following code produces the correct output of fermatas above and below
> the bar line, but it also emits warnings.  Is there another way to do this
> without warnings, or can the warnings be suppressed?  I got this code from:
>

What warnings? Without sharing that info, (1) you are expecting us to
compile it ourselves (not a big hurdle, but potentially a redundant
one which may prevent people who are away from their workstations from advising)
and (2) nobody can know if you are getting a unique warning.

> http://lsr.di.unimi.it/LSR/Snippet?id=10
>
> \version "2.19.55"
>
> \score {
>   \new GrandStaff <<
> \context Staff = one {
>   c'1 \bar "|."
>   \override Score.RehearsalMark.break-visibility =
> #begin-of-line-invisible
>   \mark \markup { \musicglyph #"scripts.ufermata" }
> }
> \context Staff = two \with { \consists "Mark_engraver" } {
>   c'1
>   \override Staff.RehearsalMark.direction = #DOWN
>   \mark \markup { \musicglyph #"scripts.dfermata" }
> }
>   >>
> }
>

Oftentimes searching the web or specifically the LP archives will lead
to past threads in which others have already encountered/debugged
the same problem.

I *strongly* suggest googling this issue yourself first - particularly
if there is a line or two in the log that start with "warning: ...".

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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

On Tue, Feb 28, 2017 at 6:56 AM, Peter Toye  wrote:
> Jeffery,
>
> I'm trying to get my head around the code you sent me - it seems that real
> programmers (you and David both) don't write comments :)
>
> Displaying multiple bar numbers needs a bit more thought. Firstly, it has to
> be switchable off. One of my examples has a single bar repeated 16 times - I
> suspect the bar numbering would be wider than the music.

What if, in that case, there was an option to display as "1, 2, 3 ...
15" or "1, 2, 3 - 15" or something like that (using arbitrary numbers
there of course). I suggest this as an *option* because there may be
some cases where you want to display all five, six or more bar numbers
without ellipsis.

> Also, should the
> bar numbers be on the first bar of the repeated section (probably a good
> default), and if not, how does one specify which bar to number? At the
> moment, probably not worth while spending time on.
>

I actually think this is an interesting problem, and I would guess
that you aren't the only LP'er who has wanted something like this
before (or will in the future).

This is either a matter of scheming up a new engraver or using markup.
The latter will at least take less time, so I will see if I can come
up with a convincing approach that way first.

> Best regards,
>
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com

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Re: merging different voices

[Jeffery Shivers]

On Tue, Feb 28, 2017 at 5:06 PM, Federico Camara Halac
 wrote:
> Hello list,
>
> This is my first post here and I’m fairly new to Lilypond, but I need some 
> help. I am using Lilypond to compose, and I need to merge 4 scores into one. 
> All four scores have the same 6 instruments and time signature (4/4), and all 
> rhythms fall into the same grid of 16th notes.
>
> What I imagine by ‘merging’ is something like superimposing pixels (multiply, 
> add, substract, divide) but applying this to the 16th-note ‘pixel’.
>

Just to echo what Urs wrote, it is unclear what exactly you want. Can
you provide a small snippet of code
(http://lilypond.org/tiny-examples.html) or a (small size) image or
anything else to maybe illustrate what you want?

If you really want to do this arithmetic-y stuff (btw, about that: do
you mean multiply, add, etc. the *pitches* only, or the
rhythms/dynamics too, or something else?), I am guessing that would
require quite a hefty procedure, though it certainly is possible (also
already said by Urs).

I wonder if you mean that you want to get the average or median pitch
for each *grid* cell. Or maybe you have a specific algorithm in mind?

> Is this something that can be done within Lilypond? Any suggestion would be 
> really appreciated!
>
> Thanks!
>
> Fede
>
>
>
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Re: Convert Scheme symbol to pitch

[Jeffery Shivers]

On Thu, Mar 2, 2017 at 4:55 PM, Urs Liska  wrote:
>
>
> Am 02.03.2017 um 22:28 schrieb caag...@gmail.com:
>> Is it possible to convert a symbol (such as `'bes'`) to a pitch (in
>> this case `(ly:make-pitch 1 0 0)`)? I know you can do `#{ bes' #}` to
>> get a pitch, but that only appears to work for constants.
>>
>> Or, for a more general question: is there some way to eval() a string
>> as Lilypond code?

Where does the string originate? If it is produced by some other
programming interface/language, maybe it be easier to adjust your code
so that the string is wrapped in something like `\myMusic = {  }`.

What does the input look like? A bunch of strings in a list/array, or
one big string as an input file?

>
> I'm not fully sure what you really want to achieve, but this works:
>
> {
>   #(ly:parser-include-string "bes")
> }
>
> and may help you further.
> Urs
>
>>
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Re: help on note head, thanks

[Jeffery Shivers]

On Thu, Mar 2, 2017 at 9:24 PM, Jinsong Zhao  wrote:
> Hi there,
>
> In a violin score, I saw something similar to the following code, but the
> second voice b4 was displayed as a triangle.
>

Do you have a screenshot or small image you could attach which shows
the notehead you want? Was it definitely a triangle, by the way? Not a
diamond?

Is what you're looking for here?
http://lilypond.org/doc/v2.19/Documentation/notation/note-heads

> I can not recognize it, and
> don't know how to input it into lilypond. Any help? Thanks in advance.
>
> \relative c' {
>   \key g \major
>   << {dis16 [fis b, ais]} \\  {s \omit Stem b4} >>
> }

This is a better version of your snippet, by the way.

== snip
\relative c' {
  \key g \major
  <<
{dis16[ fis b, ais]}
  \\
{s16 \omit Stem \omit Flag b16 s8}
  >>
}
== snip

Beams are started/stopped *post-note*, meaning the syntax is like: c[ c]

Best,
Jeffery

>
> Best,
> Jinsong
>
>
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Re: help on note head, thanks

[Jeffery Shivers]

On Thu, Mar 2, 2017 at 9:48 PM, Jinsong Zhao  wrote:
> On 2017/3/3 10:35, Jeffery Shivers wrote:
>>
>> On Thu, Mar 2, 2017 at 9:24 PM, Jinsong Zhao  wrote:
>>>
>>> Hi there,
>>>
>>> In a violin score, I saw something similar to the following code, but the
>>> second voice b4 was displayed as a triangle.
>>>
>>
>> Do you have a screenshot or small image you could attach which shows
>> the notehead you want? Was it definitely a triangle, by the way? Not a
>> diamond?
>
>
> I don't know that I could post image into a mailing list. Please find the
> attached small screenshot.
>

Hm. I studied violin for twelve years and have no idea what that
means. It could mean some harmonic technique; maybe it is that
composer's (confusing) shorthand to playing a fifth artificial with b
pressed, f# touched, sounding an octave up from that. But it makes no
sense to write it that way, so must mean something else..

> In fact, I don't know whether it was a note or not.

I would say it is definitely *some* kind of note (and not
articulation) due to the presence of a ledger line.

>
>>
>> Is what you're looking for here?
>> http://lilypond.org/doc/v2.19/Documentation/notation/note-heads
>>
>>> I can not recognize it, and
>>> don't know how to input it into lilypond. Any help? Thanks in advance.
>>>
>>> \relative c' {
>>>   \key g \major
>>>   << {dis16 [fis b, ais]} \\  {s \omit Stem b4} >>
>>> }
>>
>>
>> This is a better version of your snippet, by the way.
>>
>> == snip
>> \relative c' {
>>   \key g \major
>>   <<
>> {dis16[ fis b, ais]}
>>   \\
>> {s16 \omit Stem \omit Flag b16 s8}
>>   >>
>> }
>> == snip
>>
>> Beams are started/stopped *post-note*, meaning the syntax is like: c[ c]
>>
>
> Thanks a lot for the snippet.
>
> Best,
> Jinsong
>
>> Best,
>> Jeffery
>>
>>>
>>> Best,
>>> Jinsong
>
>



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Re: help on note head, thanks

[Jeffery Shivers]

On Fri, Mar 3, 2017 at 10:14 AM, David Kastrup  wrote:
> Jinsong Zhao  writes:
>
>> On 2017/3/3 17:02, David Kastrup wrote:
>>> Jeffery Shivers  writes:
>>>
>>>> On Thu, Mar 2, 2017 at 9:48 PM, Jinsong Zhao  wrote:
>>>>> On 2017/3/3 10:35, Jeffery Shivers wrote:
>>>>>>
>>>>>> On Thu, Mar 2, 2017 at 9:24 PM, Jinsong Zhao  wrote:
>>>>>>>
>>>>>>> Hi there,
>>>>>>>
>>>>>>> In a violin score, I saw something similar to the following code, but 
>>>>>>> the
>>>>>>> second voice b4 was displayed as a triangle.
>>>>>>>
>>>>>>
>>>>>> Do you have a screenshot or small image you could attach which shows
>>>>>> the notehead you want? Was it definitely a triangle, by the way? Not a
>>>>>> diamond?
>>>>>
>>>>>
>>>>> I don't know that I could post image into a mailing list. Please find the
>>>>> attached small screenshot.
>>>>>
>>>>
>>>> Hm. I studied violin for twelve years and have no idea what that
>>>> means. It could mean some harmonic technique; maybe it is that
>>>> composer's (confusing) shorthand to playing a fifth artificial with b
>>>> pressed, f# touched, sounding an octave up from that. But it makes no
>>>> sense to write it that way, so must mean something else..
>>>
>>> I guess that this is a beginner's book and this indicates fingering the
>>> B3 in advance simultaneously with the F4♯ by pressing down on both with
>>> your middle finger.
>>>
>>
>> Yes, it's a score from a beginner's book. Thanks you very much for the
>> explanation. Now, the question. How to typeset it in lilypond to get
>> the same output?
>
> This particular instance can be fudged using
>
>
>
>
> This uses a visual whole note (to have the Stem omitted) with a duration
> scaled to zero and in palmMute NoteHead style.  Ugly (and the Midi will
> likely be unusable), but it should get the ledger line printed and the
> position indicated correctly.
>

Alternatively, something like:

== snip

specialNote = {
  \once \omit Stem
  \once \omit Flag
  \once \override NoteHead.stencil = #ly:text-interface::print
  \once \override NoteHead.text =
\markup
\concat {
  % adjust these as needed
\with-dimensions #'(0 . 0) #'(0 . 0)
\translate-scaled #'(-0.5 . 0)
\hspace #-.25
  % replace `noteheads.s1sol` with whatever you need[1]
\musicglyph #"noteheads.s1sol"
}
}

mus = {
  <<
{ dis'16[
  fis' b ais] }
\\
{ s16
  \specialNote b16 s16 s16 }
  >>
}

\score {
  \mus
}

== snip

[1] find a full list of available glyphs in "ps/encodingdefs.ps". Idk
if there is a test that engraves all of those or not, so you may be on
your own in terms of actually finding what you need in there.

> A smoother replacement would likely be a pitched rest (also gets the
> ledger line and position as needed) with the stencil replaced by the
> triangle.  That would be fine for Midi and also a better semantic match.
> But more work.  Takers?
>
> --
> David Kastrup
>



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Re: help on note head, thanks

[Jeffery Shivers]

On Fri, Mar 3, 2017 at 10:57 AM, Simon Albrecht  wrote:
> Am 03.03.2017 um 16:49 schrieb Jeffery Shivers:
>>
>> [1] find a full list of available glyphs in "ps/encodingdefs.ps".
>
>
> More easily, there is an appendix to the Notation Reference under A: ‘The
> Feta Font’, which shows all the glyphs along with their names.

Ah, I knew I'd seen that. It's just been about two years since I last
wrote/used a note head.

Looks like "Shape-note Notehead glyphs" has several options that look
like what you want, Jinsong.

>
> Best, Simon



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balloon text applied to spanners?

[Jeffery Shivers]

Hi,

Is it possible to engrave balloon text to slurs, hairpins, etc? This
doesn't work:

\version "2.19.56"

music = {
  \new Voice \with { \consists "Balloon_engraver" } {
  \balloonGrobText #'NoteHead #'(-1 . -1) \markup { bla }
c'4
  \balloonGrobText #'Slur #'(1 . -2) \markup { not engraved }
d'2( c'4)
  }
}

\score {
  \music
}

Since footnotes can be applied to spanners, is there a small remedy /
alteration that can be made to the balloon text engraver to accomplish
it as well?

Best,
Jeffery

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Re: Scheme finction fo get markup from scheme list of strings?

[Jeffery Shivers]

On Mon, Mar 6, 2017 at 9:57 AM, David Kastrup  wrote:
> "Dmytro O. Redchuk"  writes:
>
>> 2017-03-06 15:16 GMT+02:00 David Kastrup :
>>> I may be missing the point, but what's wrong with
>> Thank you, David, nothing wrong.
>>
>> Sorry, i was unclear.
>>
>> Actually i would like to have list of lists (list of verses) and place
>> those verses in some way depending of other settings.
>>

I think I understand what you want, if the following is correct:

At the least, you need a function to accept a list of markup-lists
(such as the "verse" you provided).

And then, on top of that, you want to still be able to add properties
for *all* of them -- or do you mean, for *each* of them (meaning you
could set properties for one verse this way, another verse another
way, etc)?

In effect, instead of doing

\markup-list \column-lines #verse1
\markup-list \column-lines #verse2
% etc..

you'd like to do e.g.:

#(define verses '(verse1 verse2))
\all-the-markup-lists #verses

or even the latter part as:

#(all-the-markup-lists-in-scheme verses)

>> I've tried to define markup command, but it can not be recursive.
>>
>> I've tried to call #{ \markup ... #} from withing scheme, but got
>> empty document or "not a markup" error.
>>
>> So, i've tried some wrong ways and now i would like to know what i
>> should try instead .)
>>
>> What to try to have a (scheme? lilypond+scheme?) function to loop over
>> list of "verses" and output some "predefined" markup.
>
> _Now_ you are being unclear.  I can't figure out what you did, and
> I can't figure out what you want to do.
>
> --
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Re: Starting with Lilypond - First Error

[Jeffery Shivers]

milch."
>"Die ganze Affenbande brüllt: …"
>  }
>}
>  }
>  \line {" "}
>  \column {
>\line {
>  \bold "6."
>  \column {
>"Das Affenbaby, voll Genuss,"
>"hält in der Hand die Kokosnuss"
>"Die ganze Affenbande brüllt:"
>"|: „Da ist die Kokosnuss,"
>"da ist die Kokosnuss,"
>"es hat die Kokosnuss geklaut!“ :|"
>  }
>}
>\hspace #0.1
>\line {
>  \bold "7."
>  \column {
>"Die Affenoma schreit: „Hurra!"
>"Die Kokosnuss ist wieder da!“"
>"Die ganze Affenbande brüllt:"
>"|: „Da ist die Kokosnuss,"
>"da ist die Kokosnuss,"
>"es hat die Kokosnuss geklaut!“ :|"
>  }
>}
>\hspace #0.1
>\line {
>  \bold "8."
>  \column {
>"Und die Moral von der Geschicht’:"
>"Klaut keine Kokosnüsse nicht,"
>"weil sonst die ganze Bande brüllt:"
>"|: „Wo ist die Kokosnuss,"
>"wo ist die Kokosnuss,"
>"wer hat die Kokosnuss geklaut?“ :|"
>  }
>}
>  }
>} }
>  }
>
>  % some settings % vim: sw=2 et
>
> --
> Abonniere unseren Kanal bei Youtube http://www.youtube.de/jurtenland
>
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> Tel. 0781 9483517
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Re: Starting with Lilypond - First Error

[Jeffery Shivers]

On Mar 13, 2017 5:16 PM, "Ralph Fröhlich"  wrote:
>
> Thank you, I have updatet to 2.19.49 but get the same issue.
>
> On the server everything is fine and compilation is korrekt.
>

Have you tried with Michael's suggestion though? Does the same thing happen
with just

'lilypond file.ly'
Or whatever name it actually is, since there seems to be some inconsistency
about that..

Maybe create a new file which jonly* contains verbatim what you posted in
the original message here, and then, from the command line, 'lilypond
that-file-name.ly'

What happens then?
>
>
> Am 13.03.2017 um 22:00 schrieb Jeffery Shivers:
>>
>> I can't replicate the errors you're getting with the latest stable
version.
>>
>> Do you have the option to upgrade to (or install additionally, for
>> testing at least) 2.18.2? If not, try it on lilybin
>> (http://lilybin.com/)
>>
>> The error message points pretty clearly to the lines where these
>> problems supposedly are, but what you have actually seems correct
(syntactically
>> at least) from a first glance.
>>
>> 2017-03-13 12:44 GMT-04:00 Scoutladen - Ralph Fröhlich <
ra...@scoutladen.eu>:
>>>
>>> Hi everybody,
>>>
>>> I try to use Lilypond in our Mediawiki for collection songs for group of
>>> children (like boyscouts...).
>>>
>>> Try to set up the first song with a given .ly I get the first errors.
The
>>> code of affen.ly seams to be correct, and I try to google for the
>>> error-messages. But I didn't find any help
>>>
>>> If you have anny idea?
>>>
>>> Best regards
>>> Ralph
>>>
>>> Errors
>>>
>>> Processing `.../file.ly'
>>> Parsing...
>>> .../file.ly:27:1: error: Spurious expression in \score
>>>
>>> #(set-global-staff-size 14)
>>> .../file.ly:29:1: error: unrecognized string, not in text script or
>>> \lyricmode
>>>
>>> akkordea = \chordmode {
>>> .../file.ly:29:10: error: syntax error, unexpected '=', expecting '}'
>>> akkordea
>>>   = \chordmode {
>>> .../file.ly:71:23: error: unknown escaped string: `\akkordea'
>>>  \new ChordNames {
>>>\akkordea }
>>> .../file.ly:71:23: error: unrecognized string, not in text script or
>>> \lyricmode
>>>  \new ChordNames {
>>>\akkordea }
>>> .../file.ly:176:25: error: syntax error, unexpected '}'
>>>
>>>  }
>>> fatal error: failed files: ".../file.ly"
>>>
>>> exited with status: 1
>>>
>>>
>>>
>>> affen.ly
>>>
>>> % Dieses Notenblatt wurde erstellt von Peter Crighton
>>> [http://www.petercrighton.de]
>>> %
>>> % Kontakt: petecrigh...@googlemail.com
>>> %
>>> % geringfügige Änderungen von Hauke Rehr
>>>
>>> \version "2.12.3"
>>>
>>> \header {
>>>title = "Die Affen rasen durch den Wald"
>>>poet = "Text und Melodie: Volksweise"
>>>copyright = "Gemeinfrei. Kann beliebig vervielfältigt und
weitergegeben
>>> werden."
>>>tagline = ""
>>> }
>>>
>>> #(set-global-staff-size 14)
>>>
>>> akkordea = \chordmode {
>>>s8
>>>% \repeat unfold 4 { c2 a2:m } ?
>>>c2 a2:m
>>>c2 a2:m
>>>c2 a2:m
>>>c2 a2:m
>>>g1:7
>>>c2 c2:7
>>>f1
>>>c1
>>>g1
>>>c1
>>>c1*7/8
>>> }
>>>
>>>
>>> strophe = \relative c' {
>>>\partial 8 a'8 | g4 g4 a4 a4 | g4 g8 a4 r8 r a8  | g4 g4 a4 a4 |
>>>g4 g8 a4 e8 f8 fis8 | g4 g4 g4 g4  | c,2 r8 c'8 c a|
>>>\repeat volta 2
>>>{ c4 c8 c4 c8 c a | c4 c8 c4 e,8 f fis | g4 g4 g4 g4}
>>>\alternative {
>>>  { c4( a8 c4) c8 c a  }
>>>  { c,2 r4 r8 }
>>>}
>>>\bar "|."
>>> }
>>>
>>> text = \lyricmode {
>>>\set stanza = "1."
>>> Die Af -- fen ra -- sen durch den Wald,
>>> der ei -- ne macht den an -- der’n kalt,
>>> die gan -- ze Af -- fen -- ban -- de brüllt:
>>> „Wo ist die Ko -- kos -- nuss, wo ist die Ko -- kos -- nuss,
>>> wer hat die Ko -- kos -- nus

Re: Starting with Lilypond - First Error

[Jeffery Shivers]

On Mon, Mar 13, 2017 at 5:31 PM, Ralph Fröhlich  wrote:
> From commandline lilypond compiles affen.ly without any error
>
> It seams to be an error between Mediawiki-Extension:Score and Lilypond and
> not Lilypond and affen.ly
>
> Thank you
>

Great -

Please `reply-all` in the future, by the way (lilypond-user should be
included as a minimum, unless / until the discussion sprouts into a
private / tangential matter)

>
> Am 13.03.2017 um 22:23 schrieb Jeffery Shivers:
>
> On Mar 13, 2017 5:16 PM, "Ralph Fröhlich"  wrote:
>>
>> Thank you, I have updatet to 2.19.49 but get the same issue.
>>
>> On the server everything is fine and compilation is korrekt.
>>
>
> Have you tried with Michael's suggestion though? Does the same thing happen
> with just
>
> 'lilypond file.ly'
> Or whatever name it actually is, since there seems to be some inconsistency
> about that..
>
> Maybe create a new file which jonly* contains verbatim what you posted in
> the original message here, and then, from the command line, 'lilypond
> that-file-name.ly'
>
> What happens then?
>>
>>
>> Am 13.03.2017 um 22:00 schrieb Jeffery Shivers:
>>>
>>> I can't replicate the errors you're getting with the latest stable
>>> version.
>>>
>>> Do you have the option to upgrade to (or install additionally, for
>>> testing at least) 2.18.2? If not, try it on lilybin
>>> (http://lilybin.com/)
>>>
>>> The error message points pretty clearly to the lines where these
>>> problems supposedly are, but what you have actually seems correct
>>> (syntactically
>>> at least) from a first glance.
>>>
>>> 2017-03-13 12:44 GMT-04:00 Scoutladen - Ralph Fröhlich
>>> :
>>>>
>>>> Hi everybody,
>>>>
>>>> I try to use Lilypond in our Mediawiki for collection songs for group of
>>>> children (like boyscouts...).
>>>>
>>>> Try to set up the first song with a given .ly I get the first errors.
>>>> The
>>>> code of affen.ly seams to be correct, and I try to google for the
>>>> error-messages. But I didn't find any help
>>>>
>>>> If you have anny idea?
>>>>
>>>> Best regards
>>>> Ralph
>>>>
>>>> Errors
>>>>
>>>> Processing `.../file.ly'
>>>> Parsing...
>>>> .../file.ly:27:1: error: Spurious expression in \score
>>>>
>>>> #(set-global-staff-size 14)
>>>> .../file.ly:29:1: error: unrecognized string, not in text script or
>>>> \lyricmode
>>>>
>>>> akkordea = \chordmode {
>>>> .../file.ly:29:10: error: syntax error, unexpected '=', expecting '}'
>>>> akkordea
>>>>   = \chordmode {
>>>> .../file.ly:71:23: error: unknown escaped string: `\akkordea'
>>>>  \new ChordNames {
>>>>\akkordea }
>>>> .../file.ly:71:23: error: unrecognized string, not in text script or
>>>> \lyricmode
>>>>  \new ChordNames {
>>>>\akkordea }
>>>> .../file.ly:176:25: error: syntax error, unexpected '}'
>>>>
>>>>  }
>>>> fatal error: failed files: ".../file.ly"
>>>>
>>>> exited with status: 1
>>>>
>>>>
>>>>
>>>> affen.ly
>>>>
>>>> % Dieses Notenblatt wurde erstellt von Peter Crighton
>>>> [http://www.petercrighton.de]
>>>> %
>>>> % Kontakt: petecrigh...@googlemail.com
>>>> %
>>>> % geringfügige Änderungen von Hauke Rehr
>>>>
>>>> \version "2.12.3"
>>>>
>>>> \header {
>>>>title = "Die Affen rasen durch den Wald"
>>>>poet = "Text und Melodie: Volksweise"
>>>>copyright = "Gemeinfrei. Kann beliebig vervielfältigt und
>>>> weitergegeben
>>>> werden."
>>>>tagline = ""
>>>> }
>>>>
>>>> #(set-global-staff-size 14)
>>>>
>>>> akkordea = \chordmode {
>>>>s8
>>>>% \repeat unfold 4 { c2 a2:m } ?
>>>>c2 a2:m
>>>>c2 a2:m
>>>>c2 a2:m
>>>>c2 a2:m
>>>>g1:7
>>>>c2 c2:7
>>>>f

Re: display an engraver settings values

[Jeffery Shivers]

The answer might be found in in scm/time-signature-settings.scm



On Tue, Mar 14, 2017 at 2:05 PM, Juan Cristóbal Cerrillo
 wrote:
> Hello,
>
> I find that, given my somewhat dubious understanding of the relationship 
> between engravers, I spend a lot of time looking at the internals and 
> overriding values to see if that will have the effect I’m trying to achieve.
> Thinking about this, I realised that it might be very helpful to have a 
> function that would print to standard output all the values of for instance 
> the TimeSignature engraver at the moment were the function is placed in the 
> music.
> Any idea how I might go about achieving this?
>
> All best,
>
> jc
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Re: inconsistent bar number placement

[Jeffery Shivers]

On Fri, Mar 17, 2017 at 5:59 PM, Malte Meyn  wrote:
>
>
> Am 17.03.2017 um 22:54 schrieb Juan Cristóbal Cerrillo:
>> Yes, my version is 2.18.2
>> This is what the top of page 3 looks like with ragged-right and
>> ragged-bottom ##t
>
> The code you posted doesn’t contain these settings.
>
>> Are you not seeing the same?
>
> No, even if I add
>
> \paper {
>   ragged-right = ##t
>   ragged-bottom = ##t
> }
>
> to your code there’s no problem. You should provide code that actually
> produces the output you describe, else it’ll be difficult to help ;)

I *do* get the output they describe.

It looks like it is caused by:

  \override TimeSignature.after-line-breaking = #shift-right-at-line-begin

>
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Re: inconsistent bar number placement

[Jeffery Shivers]

On Fri, Mar 17, 2017 at 7:16 PM, Juan Cristóbal Cerrillo
 wrote:
> Thank you Jeffery.
>
> If I change the TimeSignature.break-align-symbol override to #’staff-bar and 
> get rid of the after-line-breaking override, bar number placement is 
> consistent, but is too high.
>
> Is there a way of specifying that the bar number should be placed just above 
> the StaffGroup bracket other that doing a score override for 
> BarNumber.Y-offset ?
>

If I understand, does making the following two changes do what you want?

1) remove bar numbers from the score:
  \context {\Score
\accepts TimeSig
tupletFullLength = ##t
\remove "Bar_number_engraver"
  }

2) include the bar number engraver only with the staff you want:
\score {
  \new StaffGroup
  <<
\new TimeSig
\new Staff \with {
  \consists "Bar_number_engraver"
}
\music
\new Staff \music
  >>
}

Best,
Jeffery

> Many thanks for your insight!
>
> jc
>
>
>
>
> \version "2.18.2"
>
> \paper {
>   ragged-bottom = ##t
>   ragged-right = ##t
> }
>
> \layout {
>   \context {\type "Engraver_group"
> \consists "Time_signature_engraver"
> \consists "Axis_group_engraver"
> \name "TimeSig"
> \alias "Staff"
> \override TimeSignature.style = #'numbered
> \override TimeSignature.font-size = #6
> \override TimeSignature.break-align-symbol = #'staff-bar
> \override TimeSignature.X-offset =
> #ly:self-alignment-interface::x-aligned-on-self
> \override TimeSignature.self-alignment-X = #CENTER
>   }
>   \context {\Score
> \accepts TimeSig
> tupletFullLength = ##t
>   }
>   \context {\StaffGroup
> \accepts TimeSig
>   }
>   \context {\Staff
> \remove "Time_signature_engraver"
> tupletFullLength = ##t
>   }
> }
>
> music = \relative c''
> {
>   \tupletUp
>   \repeat unfold 5 {
> \time 4/4
>   c2 c
>     \pageBreak
> \time 3/4
>   c4 c c
> \break
>   }
> }
>
> \score {
>   \new StaffGroup
>   <<
> \new TimeSig
> \new Staff \music
> \new Staff \music
>   >>
> }
>
>
>
> How could I get rid of the staff space under the time signatures
>
>> On Mar 17, 2017, at 4:32 PM, Jeffery Shivers  
>> wrote:
>>
>> On Fri, Mar 17, 2017 at 5:59 PM, Malte Meyn  wrote:
>>>
>>>
>>> Am 17.03.2017 um 22:54 schrieb Juan Cristóbal Cerrillo:
>>>> Yes, my version is 2.18.2
>>>> This is what the top of page 3 looks like with ragged-right and
>>>> ragged-bottom ##t
>>>
>>> The code you posted doesn’t contain these settings.
>>>
>>>> Are you not seeing the same?
>>>
>>> No, even if I add
>>>
>>> \paper {
>>>  ragged-right = ##t
>>>  ragged-bottom = ##t
>>> }
>>>
>>> to your code there’s no problem. You should provide code that actually
>>> produces the output you describe, else it’ll be difficult to help ;)
>>
>> I *do* get the output they describe.
>>
>> It looks like it is caused by:
>>
>>  \override TimeSignature.after-line-breaking = #shift-right-at-line-begin
>>
>>>
>>> ___
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>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>>
>> --
>>
>> Jeffery Shivers
>> jefferyshivers.com
>> soundcloud.com/jefferyshivers
>



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Re: How to simulate MuseScore's horizontal frame?

[Jeffery Shivers]

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

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

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

Best,
Jeffery

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

[Jeffery Shivers]

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

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

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

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

HTH

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



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Re:

[Jeffery Shivers]

On Mon, Mar 20, 2017 at 10:36 AM, Carlos R Martinez  wrote:
> Hello,
>
> Is it possible to use lily pond online from a server so I can use it on
> my chromebook!
> thanks

http://lilybin.com/

>
> cr
>
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Re:

[Jeffery Shivers]

On Mon, Mar 20, 2017 at 11:27 AM, Martin Tarenskeen
 wrote:
> Yes, Lilybin is cool.
>
> I would like to see some of the functionality of Lilybin - uploading a
> lilypond file and downloading the resulting PDF and MIDI files - in the form
> of a commandline tool, without the fancy GUI webbrowser functionality. Would
> such a commandline interface to the Lilybin server be possible to create?

Certainly, I would think. Maybe even for "free" with something like
EC2 (though I don't know what the traffic limits are for that without
paying).

BTW, do you mean a sort of minimal CLI in the browser, or actually a
way to reach the server from your own?

> Maybe it's even possible already?

I don't think so.

>
> Martin
>
>
>
> Op 20 maart 2017 3:59:53 PM schreef Jeffery Shivers
> :
>
>
>> On Mon, Mar 20, 2017 at 10:36 AM, Carlos R Martinez 
>> wrote:
>>>
>>> Hello,
>>>
>>> Is it possible to use lily pond online from a server so I can use it
>>> on
>>> my chromebook!
>>> thanks
>>
>>
>> http://lilybin.com/
>>
>>>
>>> cr
>>>
>>> ___
>>> lilypond-user mailing list
>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>>
>>
>>
>>
>> --
>>
>> Jeffery Shivers
>>  jefferyshivers.com
>>  soundcloud.com/jefferyshivers
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>



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Re: Re: What can Premusic do that others can't?

[Jeffery Shivers]

On Mon, Mar 20, 2017 at 7:04 PM,   wrote:
> []tm  108
> []dy  ff
>
> Fermatas I want to discuss with others before I make very specific plans. I
> don't see much reason for an entire newline of squares for fermatas, when
> "daa!" could be equivalent to "daaa" with a fermata. That's just one way to
> do it.
>
>
> - Original Message -
> Subject: Re: What can Premusic do that others can't?
> From: "Malte Meyn" 
> Date: 3/20/17 5:14 pm
> To: lilypond-user@gnu.org
>
>
>
> Am 20.03.2017 um 22:48 schrieb have@anti.capital:
>> These are the first measures of Beethoven's Fifth in premusic.
>
> This is missing tempo, fermatas and dynamics.
>
> ___
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>
>
>
>
> - Original Message -
> Subject: Re: What can Premusic do that others can't?
> From: "David Kastrup" 
> Date: 3/20/17 5:16 pm
> To: have@anti.capital
> Cc: lilypond-user@gnu.org
>
>  writes:
>
>> Why don't I ask you to name a notation that does something that
>> Parallel Squares could NOT do? Or, if I reversed the roles, and every
>> tune on http://abcnotation.com were in my notation, and I approached,
>> telling you about the ABC or GUIDO notation I invented, would you see
>> any merit in it, or any real reason to implement ABC or GUIDO... Ever?
>
> Sure. LilyPond was created by the same authors who wrote Mpp, a music
> preprocessor for MusiXTeX which is somewhat similarly compact and
> cryptic as your proposal.
>
> Semilinear notations haven't made the race in math (how great it would
> be if you'd express every mathematical formula in FORTRAN, how easy to
> understand and derive proofs, right?) or in music (Gregorian neumes are
> basically linearly written and preceded the square notation which
> followed it).
>
> How do you expect to notate heptuplets against trioles? Least common
> multiple? Good luck reading your voice as set against that of other
> voices and figuring out the relation to the beat. Have you tried
> setting some polyrhythmic Chopin with your system and actually _playing_
> it?
>
> What is your actual musical background and proficiency?
>
>> But in any case, I am not a programmer, and have never participated in
>> the creation of free software.
>
> Are you a musician? What instrument do you play at what level of
> proficiency?
>
>> Before you dismiss my format, and now that you have a sense for how it
>> works, I implore you to at least try composing in a text editor, any
>> piece of music, simple for now, to feel how natural it is. Think about
>> what this could do - one could comfortably convey all the information
>> conveyed by sheet music, using only notepad.exe.
>
> Reality check: LilyPond source can be written using only notepad.exe and
> conveys all the information written down. So can abc. So can Mpp,
> MusixTeX, MuTeX and others.
>
>> There's nothing like it.
>
> That is not valuable in itself.
>
> --
> David Kastrup
>
> I am having trouble finding examples of MPP code to look at. Could you help
> me out? And what about my code is so cryptic? Can't anyone read a
> "dadadaaa"?

No. Probably for the same reason *anyone* can't just read binary code.

You might be able to sell that to those violin playing robots in Japan though.

>
> I want to look at algebra at a later date. I feel it's fallen victim to the
> same issues as premusic - over-reverence of centuries-old notation - but I
> don't yet have an easy solution. It's more than just linearity - it's about
> designing a file format with a keyboard from the ground up, and not writing
> the information down on paper as has been done for centuries and basing your
> file format off of that.
>
> Yes, least common multiple for your obscure polyrhythms. It would work, and
> unless we start talking about pi-lets, it's the sensible way.
>
> I play guitar and a few instruments very well by most people's standards,
> though I'm sure many of you would outshine me. I compose much music that is
> at least a little complicated, and out of frustration with all existing
> notation softwares prior to my format, I have never scored it. But who cares
> if I only play the tinwhistle? It doesn't make my file format into any less
> of the most sensible plaintext file format for premusic.
>
> So Lilypond and MusixTex can be agonizingly written down by hand. They
> weren't optimized for that purpose, and are designe

Re: [Auto-Reply] Re: Re: What can Premusic do that others can't?

[Jeffery Shivers]

On Mon, Mar 20, 2017 at 7:45 PM, have@anti.capital  wrote:
> Viral Anticapital will get back to you shortly.
>
> If this is a throwaway email account, that's fine if unnecessary - please 
> remember to keep checking it, though!

Seriously?

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Fwd: Re: Re: What can Premusic do that others can't?

[Jeffery Shivers]

-- Forwarded message --
From:  
Date: Mon, Mar 20, 2017 at 8:20 PM
Subject: RE: Re: Re: What can Premusic do that others can't?
To: Jeffery Shivers 


I'm interested to know how you would pronounce the phrase "Can't
anyone read 'dadadaaa'?". Could you supply an audio recording?

I have a hypothesis that you and most anyone would pronounce it more
or less exactly as would accurately represent two quarter notes and a
half note. What's more, should that be the case, then it renders my
format's rhythm intelligible to a newly literate three-year-old with
less instruction than any part of sheet music, and it becomes
pointless to obfuscate the meaning by using any symbols other than
"dadadaaa".



- Original Message -
Subject: Re: Re: What can Premusic do that others can't?
From: "Jeffery Shivers" 
Date: 3/20/17 6:44 pm
To: have@anti.capital, "Lilypond-User Mailing List" 

On Mon, Mar 20, 2017 at 7:04 PM,  wrote:
> []tm 108
> []dy ff
>
> Fermatas I want to discuss with others before I make very specific plans. I
> don't see much reason for an entire newline of squares for fermatas, when
> "daa!" could be equivalent to "daaa" with a fermata. That's just one way to
> do it.
>
>
> - Original Message -
> Subject: Re: What can Premusic do that others can't?
> From: "Malte Meyn" 
> Date: 3/20/17 5:14 pm
> To: lilypond-user@gnu.org
>
>
>
> Am 20.03.2017 um 22:48 schrieb have@anti.capital:
>> These are the first measures of Beethoven's Fifth in premusic.
>
> This is missing tempo, fermatas and dynamics.
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>
>
> - Original Message -
> Subject: Re: What can Premusic do that others can't?
> From: "David Kastrup" 
> Date: 3/20/17 5:16 pm
> To: have@anti.capital
> Cc: lilypond-user@gnu.org
>
>  writes:
>
>> Why don't I ask you to name a notation that does something that
>> Parallel Squares could NOT do? Or, if I reversed the roles, and every
>> tune on http://abcnotation.com were in my notation, and I approached,
>> telling you about the ABC or GUIDO notation I invented, would you see
>> any merit in it, or any real reason to implement ABC or GUIDO... Ever?
>
> Sure. LilyPond was created by the same authors who wrote Mpp, a music
> preprocessor for MusiXTeX which is somewhat similarly compact and
> cryptic as your proposal.
>
> Semilinear notations haven't made the race in math (how great it would
> be if you'd express every mathematical formula in FORTRAN, how easy to
> understand and derive proofs, right?) or in music (Gregorian neumes are
> basically linearly written and preceded the square notation which
> followed it).
>
> How do you expect to notate heptuplets against trioles? Least common
> multiple? Good luck reading your voice as set against that of other
> voices and figuring out the relation to the beat. Have you tried
> setting some polyrhythmic Chopin with your system and actually _playing_
> it?
>
> What is your actual musical background and proficiency?
>
>> But in any case, I am not a programmer, and have never participated in
>> the creation of free software.
>
> Are you a musician? What instrument do you play at what level of
> proficiency?
>
>> Before you dismiss my format, and now that you have a sense for how it
>> works, I implore you to at least try composing in a text editor, any
>> piece of music, simple for now, to feel how natural it is. Think about
>> what this could do - one could comfortably convey all the information
>> conveyed by sheet music, using only notepad.exe.
>
> Reality check: LilyPond source can be written using only notepad.exe and
> conveys all the information written down. So can abc. So can Mpp,
> MusixTeX, MuTeX and others.
>
>> There's nothing like it.
>
> That is not valuable in itself.
>
> --
> David Kastrup
>
> I am having trouble finding examples of MPP code to look at. Could you help
> me out? And what about my code is so cryptic? Can't anyone read a
> "dadadaaa"?

No. Probably for the same reason *anyone* can't just read binary code.

You might be able to sell that to those violin playing robots in Japan though.

>
> I want to look at algebra at a later date. I feel it's fallen victim to the
> same issues as premusic - over-reverence of centuries-old notation - but I
> don't yet have an easy solution. It's more than just linearity - it&#x

"In procedure list-tail in expression (list-tail input-file (- # 2)): value out of range"

[Jeffery Shivers]

Hi,

I am working compiling a document located at:
  /Users/Jeffery/work/scholarly/doc/source/examples/annotate/min.ly

I can cd all the way into `examples`, and run lily fine (and get all
the correct outputs) with:
  lilypond -I "/Users/Jeffery/work" -dclip-systems annotate/min.ly

But if I go one directory deeper into `annotate`, and run:
  lilypond -I "/Users/Jeffery/work" -dclip-systems min.ly

It stops with the following error:
  GNU LilyPond 2.19.56
  Processing `min.ly`
  Parsing...
  Package scholarly @0.5.0 registered successfully.
  /Users/Jeffery/work/scholarly/annotate/module.ily:77:12: In
procedure list-tail in expression (list-tail input-file (- # 2)):
  /Users/Jeffery/work/scholarly/annotate/module.ily:77:12: Value out
of range 0 to 4294967295: -1

The line about "Package scholarly ..." is just a confirmation one of
the included files prints when its invoked in the document.

I wonder if the problem is something to do with the compiled doc and
that `annotate/module.ily` being in similarly named directories?

Best,
Jeffery
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Re: "In procedure list-tail in expression (list-tail input-file (- # 2)): value out of range"

[Jeffery Shivers]

On Tue, Mar 21, 2017 at 12:51 PM, Urs Liska  wrote:
>
> Just to clarify before anyone is getting confused: This is most surely
> not a general issue with LilyPond but with the module loading code in
> the "scholarly" package. "input-file" here is a list split from the
> (*location*) string.

Thanks.

> Then the last two elements of that list are retrieved, and for some
> reason the location list here doesn't have enough elements.
>
> Please insert the line
> (dummy (ly:message "\n\n\ninput-file: ~a\n\n\n" input-file))
> between the lines starting with "(input-file" and "(ctx" in module.ily
> (around line 77) and tell me what the output is (presumably immediately
> before the crash). Maybe give the output of a failing and a crashing
> compilation.

The problem was subtracting 2 from (length  input-file) for `ctx`:
  (input-file (string-split (car (ly:input-file-line-char-column
(*location*))) #\/ ))
  (ctx (list-tail input-file (- (length input-file) 2)))

This corrects that:
  (ctx (list-tail input-file (- (length input-file) 1)))

Sorry for the noise everyone. Don't know why I didn't look there
before posting. Should have eaten my Wheaties first.

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Re: "In procedure list-tail in expression (list-tail input-file (- # 2)): value out of range"

[Jeffery Shivers]

On Tue, Mar 21, 2017 at 1:18 PM, Urs Liska  wrote:
>>The problem was subtracting 2 from (length  input-file) for `ctx`:
>>  (input-file (string-split (car (ly:input-file-line-char-column
>>(*location*))) #\/ ))
>>  (ctx (list-tail input-file (- (length input-file) 2)))
>>
>>This corrects that:
>>  (ctx (list-tail input-file (- (length input-file) 1)))
>>
>>Sorry for the noise everyone. Don't know why I didn't look there
>>before posting. Should have eaten my Wheaties first.
>
> Ehm, doesn't that break things in other situations? I assume the "2" is there 
> fir a reason ...

So far, no. `cd`ing all around the system (up, down, to the side), it
does just fine. I don't know what other situations you'd have in mind
though.

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Re: "In procedure list-tail in expression (list-tail input-file (- # 2)): value out of range"

[Jeffery Shivers]

On Tue, Mar 21, 2017 at 1:28 PM, Jeffery Shivers
 wrote:
> On Tue, Mar 21, 2017 at 1:18 PM, Urs Liska  wrote:
>>>The problem was subtracting 2 from (length  input-file) for `ctx`:
>>>  (input-file (string-split (car (ly:input-file-line-char-column
>>>(*location*))) #\/ ))
>>>  (ctx (list-tail input-file (- (length input-file) 2)))
>>>
>>>This corrects that:
>>>  (ctx (list-tail input-file (- (length input-file) 1)))
>>>
>>>Sorry for the noise everyone. Don't know why I didn't look there
>>>before posting. Should have eaten my Wheaties first.
>>
>> Ehm, doesn't that break things in other situations? I assume the "2" is 
>> there fir a reason ...
>
> So far, no. `cd`ing all around the system (up, down, to the side), it
> does just fine. I don't know what other situations you'd have in mind
> though.

Scratch that.

>
> --
>
> Jeffery Shivers
>  jefferyshivers.com
>  soundcloud.com/jefferyshivers



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Re: "In procedure list-tail in expression (list-tail input-file (- # 2)): value out of range"

[Jeffery Shivers]

On Tue, Mar 21, 2017 at 1:41 PM, Jeffery Shivers
 wrote:
> On Tue, Mar 21, 2017 at 1:28 PM, Jeffery Shivers
>  wrote:
>> On Tue, Mar 21, 2017 at 1:18 PM, Urs Liska  wrote:
>>>>The problem was subtracting 2 from (length  input-file) for `ctx`:
>>>>  (input-file (string-split (car (ly:input-file-line-char-column
>>>>(*location*))) #\/ ))
>>>>  (ctx (list-tail input-file (- (length input-file) 2)))
>>>>
>>>>This corrects that:
>>>>  (ctx (list-tail input-file (- (length input-file) 1)))
>>>>
>>>>Sorry for the noise everyone. Don't know why I didn't look there
>>>>before posting. Should have eaten my Wheaties first.
>>>
>>> Ehm, doesn't that break things in other situations? I assume the "2" is 
>>> there fir a reason ...
>>
>> So far, no. `cd`ing all around the system (up, down, to the side), it
>> does just fine. I don't know what other situations you'd have in mind
>> though.
>
> Scratch that.

Actually, false alarm. Anyhow, we should probably continue this
discussion on the scholarly issue tracker at this point.

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Re: chordmode above bar numbers ?

[Jeffery Shivers]

On Thu, Mar 23, 2017 at 5:50 PM,   wrote:
> In the example below, is there any way to make the bar numbers to be
> below the chord symbols ?
>
> I guess I have to move the bar number engraver from score to staff
> level, or is there another way ?

Try:

\override Score.BarNumber.outside-staff-priority = #number1
\override Score.ChordName.outside-staff-priority = #number2

Where number2 is greater.

Best,
Jeffery
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Re: Unusual beaming for piano music

[Jeffery Shivers]

On Thu, Mar 23, 2017 at 9:13 PM, Andrew Bernard
 wrote:
> I have an unusual beaming situation in the piano work I am setting. The 
> composer I work with is fussy (very) about his visual gestures in notation 
> and it is incumbent on me to reproduce the beaming seen in the attached 
> image. The issue I am having difficulty with is where the beam for the 
> spanned group goes from up to down with no break – at the point where the 
> “treble^8” clef is introduced. Are there any smart solutions to such a 
> situation?
>
> I can ask to have this notated differently, but it would go against various 
> large scale structural patterns in the music. [Yes, we know it does not 
> follow engraving rules ]  So a technical lilypond solution would be great.

I would start to guess something like.. just faking it with
simultaneous overlapping beams. But I've given up in the past on doing
this exact thing more than once. I can't recall ever spending the time
to work it out. Are the beams for the subdivisions (beyond quavers)
always at least on one side or the other - and never both?

Best,
Jeffery
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Re: Unusual beaming for piano music

[Jeffery Shivers]

On Fri, Mar 24, 2017 at 3:14 PM, Kim Shrier  wrote:
> In the notation reference about beaming, 
> http://lilypond.org/doc/v2.19/Documentation/notation/beams.en.html#manual-beams
>  , it looks like you can achieve what you want by using manual beaming along 
> with \set stemLeftBeamCount and \set stemRightBeamCount .

I'm not sure that does what he is asking.

Andrew:
How about at that moment where the beam is "split" or whatever,
letting that top beam's stem go all the way down to the d-sharp, and
at that same moment beginning the second beam with a space? I think
with some settings for avoiding various collisions, that could at
least visually do what you want there.

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Re: Unusual beaming for piano music

[Jeffery Shivers]

On Fri, Mar 24, 2017 at 3:34 PM, Jeffery Shivers
 wrote:
> How about at that moment where the beam is "split" or whatever,
> letting that top beam's stem go all the way down to the d-sharp, and
> at that same moment beginning the second beam with a space? I think
> with some settings for avoiding various collisions, that could at
> least visually do what you want there.
>

see attached

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ex.ly
Description: Binary data
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Re: A "phylosophical" question

[Jeffery Shivers]

On Sat, Mar 25, 2017 at 2:51 PM, Son_V  wrote:
> Sorry for the subject, I wasn't able to choose a better one.
> I usually try to put in a beautiful way scores that came fro copy to copy.
> So I try to be loyal to what I find; but I got a score, see below,
>
> <http://lilypond.1069038.n5.nabble.com/file/n201532/1.png>
>
> that Lilypond writes differently, see
>
> <http://lilypond.1069038.n5.nabble.com/file/n201532/2.png>
>
> Who is right?
> And if them right one is the first,k how can I tell Lilypond to make what is
> in the first picture?
> PS I do not have "Beyond bars" at hand, and moreover it should be hard to
> find the answer, i fear.
>

I'm guessing here since you didn't actually specify your question -
are you asking about the beaming?

The quavers would logically be grouped in four (2.png). That's an
assumption without any of the surrounding musical context of course,
but even with that I would normally expect a group of four since this
belongs to a single word.

If we are in some strange meter and these lyrics are simply there for
phrasing - say, it's actually a violin part playing what is
transcribed from a vocal piece - then *maybe* that could be different.
Still, lyrics pretty much speak for themselves phrasing/beaming-wise..

http://lilypond.org/doc/v2.18/Documentation/notation/beams

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Re: A "phylosophical" question

[Jeffery Shivers]

On Sat, Mar 25, 2017 at 4:28 PM, Son_V  wrote:
> Yes, you're right.
> But I left writing scores for a lot, and now I'm still in the position I
> were then: a newbie to Lilypond.
> That I love for the wonderful typographical engine, otherwise I could
> happily stand with MuseScore (oh if they made MS a frontend to LP!).

Newbie or not, you can google many questions and get the answers you
need much faster than by posting on this list. In other words, it is
typically to your advantage to search for the answer yourself before
resorting to typing up a message and waiting to hear back.

In this case, a search for "lilypond beam" pulls up everything you
need (minus the philosophy; you can find some of that here:
http://lilypond.org/background.html).

Welcome back to the Pond!

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Re: A "phylosophical" question

[Jeffery Shivers]

Ignore my first response btw... it's been too long since I worked with text.

Urs's explanation is correct (and again, all of us are still having to
assume things / speak generally since we don't know in what musical
context this fragment is situated).

On Sat, Mar 25, 2017 at 4:46 PM, Son_V  wrote:
> If just I could understand that the question I have is about something that
> is called "beaming" in English...

http://lilypond.org/glossary.html

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Re: Conflict with "poet" and "Composer"

[Jeffery Shivers]

Who in the world is this addressed to?

On Thu, Mar 30, 2017 at 5:31 PM, Son_V  wrote:
> Hi, I've tried to use your solution, bu I didn't got a good file; if I send
> it to you, may you work on it to obtain what I would?
> Thanks.

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Re: Unusual beaming for piano music

[Jeffery Shivers]

On Fri, Mar 31, 2017 at 4:44 AM, Andrew Bernard
 wrote:
> For anybody who comes across this matter in the future, my example code is
> attached - a bit too involved to be an MWE I am afraid.
>
> Gratitude to all for helping with this one!

Thanks for sharing this!

If/when openLilyLib proceeds with a contemporary notation bundle, I
think something like this would be really cool to have builtin,
perhaps with an intelligent interface for (optionally) auto-setting
the beam positions etc. I've also encountered / lost hair over / seen
in others' work this general notational problem a lot in the past few
years (don't ask me why us younger/contemporary composers are inclined
to do it :-) ).

Best,
Jeffery

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Re: Lines or Boxes without reference to score or stave

[Jeffery Shivers]

Hi Guy,

On Thu, Apr 6, 2017 at 11:33 AM Guy Stalnaker  wrote:
> What I want to do is put a box, visually, around the engraved score, but 
> independent of the engraved score. There will be two boxes, one (dashed or 
> dotted) representing the margins of the document, and another .25" larger 
> that represents a paper-size (this has to do with providing engraved music 
> output that will be placed on non-standard sized paper by another person). 
> The boxes show them where their margins/paper is on the engraving to allow 
> them a sense for how much space the score will consume in their final 
> document.
>
> This is basically four straight lines, two horizontal and two vertical but 
> with reference to absolute page positioning, e.g., Line1: start 1.5" down 
> from top margin and 1" in from left margin and draw horizontal for 7.5", 
> Line2: start 1.5" down from top margin and 1" in from left margin and draw 
> down 8.0", etc.. Everything that I've seen thus far are markup of some kind 
> that are entered in reference to the score or, with the Notation Reference 
> entries for \draw-hline for example, only seem to draw a line wherever the 
> markup is place and not at an absolute position.
>
> I can, of course, output to png, open png in image editor and add the boxes 
> manually, but it would be easier :-) to do this in lilypond. Maybe.

A slightly less manual way would be to compile your normal LP document
then embed those pages in a LaTeX document and draw the lines/boxes
with some simple macros and/or TikZ. Here are some ways people have
done similar things:

http://tex.stackexchange.com/questions/20640/how-to-add-border-for-an-image
http://tex.stackexchange.com/questions/251670/dotted-frame-around-the-text

Maybe that's more *manual* than you want though. Idk. But that's what
I would recommend as a simple solution anyway.

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Re: Specify output directory *in* the file

[Jeffery Shivers]

On Tue, Apr 18, 2017 at 12:57 PM, Patrick Hubers  wrote:
>
> I would love to use this solution, but it means that you also have to define
> the actual name of the *file* in addition to the directory. Is there a way
> to derive the filename from the title and use that? I found that using
>
>   \bookOutputName \concat { "/home/foo/" \fromproperty #'header:title }
>
> does not work...

Couldn't one do this in scheme alone?

I don't know how to retrieve bookOutputName after it is set, but maybe
setting it independently like:

#(define mytitle "mytitle")

\book {
  \header {
title = #mytitle
  }
  \bookOutputName #(string-append "sub/" mytitle)
  \score {
c'4
  }
}

But if there is a way to use fromproperty in scheme, I can't figure it out.

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Re: What does anyone want? (4)

[Jeffery Shivers]

Hi Miroslaw,

On Thu, Apr 20, 2017 at 2:42 PM, Mirosław Doroszewski
 wrote:
> [trimmed gobbledygook]

Please stop sending this series of rambling / off-topic / distracting
messages to the lilypond-user list. Most people come here for help or
to offer any kind of constructive conversation. You aren't doing
either. People can block you (I certainly will), but your off-topic
posts are still going to be wasting space in the archives that could
otherwise go to meaningful threads.

Thanks,
Jeffery
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Re: Compilation Problem with lilypondbook

[Jeffery Shivers]

Hi Emil,

On Fri, Apr 21, 2017 at 3:57 PM, Emil Salim  wrote:
> Hello again,
>
> I removed the geometry package and was able to produce a PDF, but somewhat
> erratic. I'll try out several things first. Sorry to bother.

I don't think anyone can really comment on this since you didn't
indicate you were using that package in your example.

Could you provide a complete / compilable MWE which still produces the
problem you are having?
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LilyPond Slack channel

[Jeffery Shivers]

Hi everyone,

I thought it might be useful to create a Slack channel for LilyPond,
particularly with the advent of another Google Summer of Code term.

Most GSoC orgs encourage some sort of IRC or other chat protocol for
students / mentors / admins to interact, but of course the downside is
that these aren't usually public spaces. However, this paradigm for
faster (and probably more casual) communication could be a good way of
maintaining students' enthusiasm, productivity, and general *bonding*
with each other and the more interested community members.

GSoC students shouldn't ever use the channel to ask questions that
should be answered by the general community, but it might be the place
to ask quick questions that really don't need a whole email dedicated
to them. Also, people can arrange times to meet and chat this way,
similar to Skype or whatever.

So I'd like to know general thoughts about the use of such a system in
the first place, for GSoC, but also if people might see a use for it
outside of the scope of LilyPond. Other than the tradeoff between
(potential) pace/efficiency and permanence/archivability, the only
other tricky part of Slack is the way that new members are invited to
the channel.

Admins for a channel can individually invite anyone, and can also
allow anyone whose email belongs to a certain domain (such as
*@gnu.org) to find and request to join the channel. But the upside to
that is that it is easy to curate membership and to even have private
threads (created by admins) within the channel.

If you want to have a look and try it out, I'd be happy to invite
individuals. Please just let me know - it takes two seconds to send
the invitation, and I am hopeful that this is something others are
interested in. The Slack channel is: https://lilypond.slack.com/

Looking forward to your thoughts.

Best,
Jeffery

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Re: LilyPond Slack channel

[Jeffery Shivers]

On Fri, Apr 21, 2017 at 10:24 PM Jeffery Shivers 
wrote:

>
> So I'd like to know general thoughts about the use of such a system in
> the first place, for GSoC, but also if people might see a use for it
> outside of the scope of LilyPond.


Oops - I mean *outside of the scope of GSoC*.

> --

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Re: I want my fs back!

[Jeffery Shivers]

On Tue, Apr 25, 2017 at 7:40 AM Jacques Menu Muzhic 
wrote:

> Hello,
>
> If I’m not mistaken, LaTeX handles ff in a special way, i.e. as a single
> glyph, to have them closer to each other than they would otherwise be.
>
> Could that be related to your problem?


I've always had a similar thing happen when the content is extracted from
any LaTeX-typesetted pdf (for "ff" and "ft") in any way.

Never bothered to look into why (or rather how) this happens, but I'm sure
the problem/fix is in that part of the process.

Best,
Jeffery

> --

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Re: I want my fs back!

[Jeffery Shivers]

On Tue, Apr 25, 2017 at 6:12 AM Stephan Zitzmann 
wrote:

> I have the problem with many files.
>
> [...]


>
> The problem is after incuding the resulting pdf in Latex with
> \includegraphics all the ff in the lyrics text are missing.
>
> So I rendered the lilypondfile as a svg, opened it with inkscape, convertet
> the file to pdf, and included it in the same way in Latex. Now I have the
> fs.
>
> So I guess this is a problem of lilypond.
>

It seems like that *isn't* the case though, considering you found a
workaround that fit after that part of the process.

Is it possible to attache files on this mailinglist?


Of course, but better if you can embed a tiny example.

Search "LaTeX remove ligatures" and you'll probably find your solution is
to use the *newunicodechar* package.
Best,
Jeffery
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Re: I want my fs back!

[Jeffery Shivers]

>> Am 26.04.2017 um 17:13 schrieb zs.has...@gmx.de:
>> > The answer in my case was:
>> >
>> > \pdfinclusioncopyfonts=1
>>
>> which is a macro from which package? (Just for reference and out of
>> curiousity)

It is a part of pdftex; see p.35:
http://texdoc.net/texmf-dist/doc/pdftex/manual/pdftex-a.pdf

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Re: 3 Voices one staff

[Jeffery Shivers]

Hi Johannes,

On Thu, May 4, 2017 at 12:13 PM, Johannes Roeßler  wrote:

> Hi,
>
> I have to set this piano notes:
>
>
>
> With the direction of the stems indicating the hand (so I can't put the
> lower two just into accords).
>
> Not surprisingly it looks rather ugly - even without beaming the middle
> voice together
>
>
​Can you not split the hands into two distinct staves?​

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Re: How to generate a minimally sized pdf

[Jeffery Shivers]

Hi Ivanov,

On Sun, May 28, 2017 at 6:01 PM, Ivanov Dmitry  wrote:
> In LaTeX I can use the paper only fitting the contents by using standalone
> class. Lilypond always creates an A4 document for me. I tried the following
> code:
>
> [...]

I believe other people have inquired about auto-cropping and
such in the past, too! Might be worth searching the archives (or just
googling to get there faster).

By the way, how are you compiling this? (i.e. command line, frescobaldi, other?)

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Introduction / GSoC - ScholarLY Annotations

[Jeffery Shivers]

Dear all,

I am writing to introduce myself and hopefully begin a role an active part
of this community. I am a student / composer in Boston, and I have used
LilyPond for a few years now. I've gotten a lot of help from this list
(mostly lurking the archives, I admit), especially up until the last year
when my notational needs have sort of *strayed* from convention (
jefferyshivers.com). In any case, the collaborations / advice that happens
in this group is really something for you to be proud of, and this is a
much too belated acknowledgement of my appreciation!

The main reason for this introduction is that I am one of the Google Summer
of Code students this year. My project is to work on the OpenLilyLib's
ScholarLY annotations -- to work on the module itself, as well as to create
a package for its functionality with LaTeX. My mentor is Urs Liska, who
initiated the whole project in the first place.

This is a super promising tool for users of LilyPond who want to create
critical / scholarly editions with LilyPond, as well as to maximize the
communication of details within collaborative workflows (so that
annotations can be used / referenced inside of the Frescobaldi interface in
addition to being exported to various formats).

https://github.com/openlilylib/scholarly/wiki/GSoC

I hope that I can count on this group's help during the summer as I'll
surely run into some obstacles / questions that may be best advised by you.
If you are also on the devel list, I'm sure I'll see you there, too!

I'm incredibly excited to see this project through and to share a
successful outcome in a few short months.

All my best,
Jeffery
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Re: Dorico announced

[Jeffery Shivers]

​About the name!
:
​
Daniel Spreadbury said that
​"
originally Dorico was the code name for the program, but in time we failed
to find a better name for the program, and the name stuck. However, please
don’t pronounce it like the name of a corn chip!
​"

[1]​

Lots of good things about this software (it seems), but the prices are
really absurd.

​[1]
http://www.sibeliusblog.com/news/steinberg-announces-dorico-availability-in-q4-2016/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+sibeliusblog+%28Sibelius+Blog%29
​


On Tue, May 17, 2016 at 10:19 PM, Vaughan McAlley 
wrote:

> On 17 May 2016 11:37 p.m., "Kieren MacMillan" <
> kieren_macmil...@sympatico.ca> wrote:
> >
> > Hello all,
> >
> > 
> > Just an FYI.
> >
> > Cheers,
> > Kieren.
> > 
> >
> > Kieren MacMillan, composer
> > ‣ website: www.kierenmacmillan.info
> > ‣ email: i...@kierenmacmillan.info
> >
> >
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
> Spanish for Dorian?
>
> As a name it is almost as esoteric as Lilypond. It reminds me of the
> we're-not-leaving-until-we-have-a-name meeting the a male cappella group I
> was in had. Pablo Fanques and the Blue Notes was soon abbreviated to Pablo,
> and turned out to be a great name, as is Lilypond, and (once we get used to
> it, hopefully) Dorico.
>
> Vaughan
>
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>
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footnote counter

[Jeffery Shivers]

I am trying to find the following two things regarding footnotes:

1) How might I retrieve the accumulated number of footnotes either for an
entire document/section, or at least for a single page?

2) In the notation doc [
http://lilypond.org/doc/v2.19/Documentation/notation.pdf], pg. 481, the
'mark' element describes that the count is automatically reset on each page
that contains a footnote. Where is that function written; and how could it
be overwritten (specifically to *not* automatically reset ever, or
(additionally) to only reset when explicitly instructed)?

Thanks!
Jeffery
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Re: Lyrics in different colours

[Jeffery Shivers]

Oops - I did not send that to the listserv. This does that.


On Tue, Jun 14, 2016 at 11:34 PM, Jeffery Shivers 
wrote:

> Hi Don,
>
> If you're working
> ​in
>  lyric
> ​mode​
>  and not markups​
> ,
> ​​
> you can
> ​​
> ​:​
>
>
> emphasize = {
>   \override Lyrics.LyricText.font-shape = #'italic
>   \override Lyrics.LyricText.font-series = #'bold
> }
>
> \emphasize at the beginning of the text of your middle verse. You can
> change what 'emphasize' does - that's just the usage example from the
> documentation:
>
> http://lilypond.org/doc/v2.18/Documentation/learning/using-variables-for-layout-adjustments
>
> ​//​
>
> ​If you're using markups:
> \bold { will make all this text bold } but not this, so just make sure you
> encapsulate the whole body.
>
> Which is explained better here.
> http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text
>
> ​Hope that helps!​
> ​-j​
>
>
> On Tue, Jun 14, 2016 at 10:51 PM, Don Gingrich 
> wrote:
>
>> Hi,
>>
>> I've got a score with a treble and bass part and three
>> verses worth of lyrics in between. Is there some simple
>> way to make the middle set of lyrics a different colour
>> or bold or underlined -- anything to make it easier to keep
>> track of which verse? It's made more complicated since
>> we're a choir singing in Scottish Gaelic (and we're mostly
>> *not* fluent Gaelic speakers. i.e. learning lyrics more or
>> less phonetically.)
>>
>> I can send the .ly file, but it would be really difficult to
>> extract a useful example, given my level of LilyPond
>> knowledge.
>>
>> Thanks,
>> -Don (Victorian Scottish Gaelic Society Choir)
>> --
>> Don Gingrich
>>
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>>
>
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GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

Hi fellow LP users,

Firstly, thanks to Urs for all his guidance in the project so far. The
LaTeX package for scholarLY is inching forward still, and hopefully I
will share an initial version after a few more kinks have been worked
out with a couple of the features. I'll have more substantial details
soon, and ideally all will be wrapped in some sort of early
documentation along with the package and example docs.

I would like to ask for some feedback regarding two general topics.

***Footnotes***
Currently, in the annotation interface, we can set an `ann-footnote`
property which is sent to LaTeX as a footnote for the entire
annotation message (and not realized in LilyPond as an in-score
footnote). That is particularly useful/necessary for making sure that,
if used, the superscript would be placed *after* punctuation and
quotes (or whatever else might be used). Additionally any `\fn...`
used in a message property, such as `\fnSpecialNote` will link to the
value associated with `fn-special-note-text` if set (which is also
only applied in LaTeX and *not* lilypond, i.e. the score itself). So,
in use:

\criticalRemark \with {
message = "My message with\fnUnique two footnotes."
fn-unique-text = "A footnote within the message."
ann-footnote = "A footnote for the entire message."
} NoteHead c4

My question, since another aim is to actually trigger lilypond/score
footnotes from within annotations as well, is *how* you would
want/expect that to be implemented, including the nomenclature. My
initial thought is to add `score-footnote` as an additional (optional)
property in the annotation interface, and automatically link it to the
corresponding grob. It seems straightforward enough, but I want to be
sure I am not overlooking some other way of approaching this that
would be more intuitive.

***Final/"draft" Modes***
OpenLilyLib will ideally be used in final/draft/etc. modes in order to
toggle between fancy/plain settings, or really whatever the user
decides to work out. The idea is to be able to set/compile settings in
either mode at the individual package level (i.e. scholarLY, etc.),
and also to be able to toggle all-at-once by directing OLL's mode. And
individual packages will have an additional optional setting to *keep*
whatever mode regardless of OLL's mode, if so desired.

The question here is about naming mostly. A `final` mode is ideally
the *implicit* mode, so it doesn't have to be explicitly set (though
it still could be). An alternative mode, `draft` would need to be
turned on explicitly. There have apparently been discussions in the
past particularly about the name "draft" (though I haven't found them
in my search); in any case, I'd like to know what others think about
that now, and of course the concept of this feature in general.

Looking forward to your thoughts about these things, and to
following-up with some test-drivable results in the near future.

all best,
Jeffery

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Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

>
> Both lilypond and LaTeX have steep learning curves


​
One of the conditions of the package
​, in my mind,​
is to make
​its ​
usage possible at
​the

​highest​
​
level, but configurable at the lowest.
​LaTeX is such a powerful utility, and in this case should really extend
our workflows (and not necessarily further complicate them). ​
It's nearly there, but at this point, for example,

\documentclass{article}
\usepackage{scholarLY}
\begin{document}
\annotations{lilypondexportfile.inp}
\end{document}


​will render the entire list​ (well, virtually; the file paths are a little
wonky rn). We've recently added a default stylesheet that is itself used by
the package to format the list, but also exemplifies almost all of the
macros available for customization. So it's definitely a priority for this
to be as practical a resource as possible.

Also, we plan to add more export types (such as markdown, and even scheme -
which could make compilation possible directly in lilypond), so that the
choice of *how* it is implemented is itself available upfront.

On Wed, Jun 29, 2016 at 10:03 AM, Urs Liska  wrote:

>
>
> Am 29.06.2016 um 15:12 schrieb Paul:
> > Hi Jeffrey,
> >
> > It's good to hear about your progress!  Just a thought about modes...
> >
> > On 06/27/2016 07:50 PM, Jeffery Shivers wrote:
> >> ***Final/"draft" Modes***
> >> OpenLilyLib will ideally be used in final/draft/etc. modes in order to
> >> toggle between fancy/plain settings, or really whatever the user
> >> decides to work out. The idea is to be able to set/compile settings in
> >> either mode at the individual package level (i.e. scholarLY, etc.),
> >> and also to be able to toggle all-at-once by directing OLL's mode. And
> >> individual packages will have an additional optional setting to *keep*
> >> whatever mode regardless of OLL's mode, if so desired.
> >>
> >> The question here is about naming mostly. A `final` mode is ideally
> >> the *implicit* mode, so it doesn't have to be explicitly set (though
> >> it still could be). An alternative mode, `draft` would need to be
> >> turned on explicitly. There have apparently been discussions in the
> >> past particularly about the name "draft" (though I haven't found them
> >> in my search); in any case, I'd like to know what others think about
> >> that now, and of course the concept of this feature in general.
> >>
> >> Looking forward to your thoughts about these things, and to
> >> following-up with some test-drivable results in the near future.
> >
> > For greater flexibility, would it be feasible to allow users to create
> > and name any number of their own modes (rather than having two
> > "hard-coded")?  That's probably more complex to implement, but it
> > would allow switching between 3 or more modes for whatever purpose.
> > Again, just a thought...
>
> Interesting thought - although I wouldn't want to decide this
> spontaneously. But maybe some clarification about the implementation is
> helpful for others to think about it.
>
> We're talking about openLilyLib's configuration mechanism.
> ScholarLY is a package that implicitly loads openLilyLib through the
> oll-core package, which in turn implements the configuration
> infrastructure.
>
> Once oll-core is loaded there is a tree structure available holding all
> sorts of options that can be handled using (among others) a \getOption
> and a \setOption command. openLilyLib packages are encouraged to make
> use of that mechanism to provide a consistent user interface across
> openLilyLib packages. But (together with the \registerOption command)
> they can also be used independently by any user file.
>
> Now, switching modes (like with LaTeX's class options) is handled by
> setting a global option in openLilyLib. By itself this does nothing, but
> packages are encouraged to respond to that setting. As an example the
> ScholarLY package might apply coloring of annotated items when "draft"
> mode is active and keep everything black in "final" mode. However, it is
> up the package maintainer if and how the packages handles "modes".
>
> Implementation-wise it is basically nothing to add another mode by
> simply allowing additional values for the "mode" option. Packages can
> also quite easily implement that by extending the conditionals in their
> functions to respond to more than two modes.
> However, to be useful this must be discussed rather on the conceptual
> side, i.e. what kind of mode would make se

Re: tiny function

[Jeffery Shivers]

Hi Gabriel-Marie,

Could you describe in context what you are trying to achieve? Are you
meaning to apply *stanza* number, rather than instrument names? Have a look
at:

http://lilypond.org/doc/v2.19/Documentation/notation/stanzas

HTH,
Jeffery

On Thu, Jun 30, 2016 at 4:37 PM, Br. Gabriel-Marie | SSPX <
brgabr...@sspx.org> wrote:

> In my music script I want to use this:
>
> \new Lyrics \with { instrumentName = "1." shortInstrumentName = "1." }
>
> However, I would like to make a function out of it.  I'm looking at this
> page:
>
> http://lilypond.org/doc/v2.18/Documentation/learning/saving-typing-with-variables-and-functions
>
> and this is what I have come up with, but I know this isn't right.  Can
> someone correct this for me?
> Basically, I want to do this:
> \new Lyrics \verseNumber #1
>
> and have it create this:
> \new Lyrics \with { instrumentName = "1." shortInstrumentName = "1." }
>
> verseNumber = #(define-music-function(parser location whatnumber)(
> number?) #{  \with { instrumentName = #whatnumber "." shortInstrumentName =
> #whatnumber "." } #}
>
>
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Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

I'd appreciate any thoughts on the following syntax for implementing
footnotes with annotations:

\criticalRemark \with {
message = "my annotation"
} #'(1 . 2) "my footnote" Slur a4_\the-footnote-hook ( ...

vs.

\criticalRemark \with {
message = "my annotation"
footnote-offset = '(1 . 2)
footnote-text = "my footnote"
} Slur a4_\the-footnote-hook ( ...

vs. either of the above *without* the need for the footnote hook at all.
I'm not totally sure how easy/possible it would be to automate the footnote
by the presence of offset/text arguments, but I certainly think it would be
work trying. Of course, I can see why taking away that need for a hook
could also be considered somewhat intrusive of the package, so opinions
*against* that would be good to hear.

In the first example, the offset and text arguments would be optional. And
of course anything in the annotation properties list (like
footnote-offset/text in the second example) are always optional, except for
message, I think.

Thanks!
jeffery

On Wed, Jun 29, 2016 at 11:40 PM, Paul  wrote:

> On 06/29/2016 10:03 AM, Urs Liska wrote:
>
>> Implementation-wise it is basically nothing to add another mode by simply
>> allowing additional values for the "mode" option. Packages can also quite
>> easily implement that by extending the conditionals in their functions to
>> respond to more than two modes. However, to be useful this must be
>> discussed rather on the conceptual side, i.e. what kind of mode would make
>> sense and how to propagate that through different packages (doesn't make
>> much sense to have a mode that doesn't do much). So, this aspect is where
>> this discussion should be done. FWIW, just creating an arbitrary option and
>> configuring your personal files to do some configuration based on that
>> option might as well provide everything you asked for, without even
>> touching the openLilyLib packages themselves. HTH Urs
>>
>
> Ah, ok, I see.  In that case, please disregard my thought.
>
> Cheers,
>
> -Paul
>
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Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

>
> For greater flexibility, would it be feasible to allow users to create and
> name any number of their own modes (rather than having two "hard-coded")?
> ​
>

Just to put my two cents in, I ​had thought about that as well and almost
suggested it in the OP. If a single project could employ certain settings
in various modes that aren't necessarily *not* final, for instance, and OLL
could help easily navigate those modes, it would certainly be an advantage
to using OLL in general. :-)

On Sat, Jul 2, 2016 at 9:34 PM, Jeffery Shivers 
wrote:

> I'd appreciate any thoughts on the following syntax for implementing
> footnotes with annotations:
>
> \criticalRemark \with {
> message = "my annotation"
> } #'(1 . 2) "my footnote" Slur a4_\the-footnote-hook ( ...
>
> vs.
>
> \criticalRemark \with {
> message = "my annotation"
> footnote-offset = '(1 . 2)
> footnote-text = "my footnote"
> } Slur a4_\the-footnote-hook ( ...
>
> vs. either of the above *without* the need for the footnote hook at all.
> I'm not totally sure how easy/possible it would be to automate the footnote
> by the presence of offset/text arguments, but I certainly think it would be
> work trying. Of course, I can see why taking away that need for a hook
> could also be considered somewhat intrusive of the package, so opinions
> *against* that would be good to hear.
>
> In the first example, the offset and text arguments would be optional. And
> of course anything in the annotation properties list (like
> footnote-offset/text in the second example) are always optional, except for
> message, I think.
>
> Thanks!
> jeffery
>
> On Wed, Jun 29, 2016 at 11:40 PM, Paul  wrote:
>
>> On 06/29/2016 10:03 AM, Urs Liska wrote:
>>
>>> Implementation-wise it is basically nothing to add another mode by
>>> simply allowing additional values for the "mode" option. Packages can also
>>> quite easily implement that by extending the conditionals in their
>>> functions to respond to more than two modes. However, to be useful this
>>> must be discussed rather on the conceptual side, i.e. what kind of mode
>>> would make sense and how to propagate that through different packages
>>> (doesn't make much sense to have a mode that doesn't do much). So, this
>>> aspect is where this discussion should be done. FWIW, just creating an
>>> arbitrary option and configuring your personal files to do some
>>> configuration based on that option might as well provide everything you
>>> asked for, without even touching the openLilyLib packages themselves. HTH
>>> Urs
>>>
>>
>> Ah, ok, I see.  In that case, please disregard my thought.
>>
>> Cheers,
>>
>> -Paul
>>
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Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

Now offset and footnote (text) can be set in the properties list. `footnote
= "text"` can be explicitly set and used for the footnote text, or, if not
set, `message = "text"` is assumed to be the footnote text, if made into a
footnote at all.

\criticalRemark \with {
message = "my message; could be a footnote too"
offset = #'(1 . 1)% tells scholarLY to make a footnote of this
footnote = "this could be a shorter footnote than message, and will
become the footnote if used"
} ...

Since offset is presumably always going to be used for footnotes, I think
*that* should be what triggers the footnote. So, inclusion of `offset =
#'(...)` will tell scholarLY that the annotation is a footnote; otherwise
it *isn't*. If it's preferred to rather have an explicit boolean (like
apply-footnote = ##t, or whatever), that could work. But I will say that I
prefer using something as obvious as offset as a sort of automatic
indication of footnote-ness.

-j

On Sun, Jul 3, 2016 at 11:15 AM, Urs Liska  wrote:

>
>
> Am 03.07.2016 um 14:48 schrieb Simon Albrecht:
> > On 03.07.2016 03:34, Jeffery Shivers wrote:
> >> I'd appreciate any thoughts on the following syntax for implementing
> >> footnotes with annotations:
> >>
> >> \criticalRemark \with {
> >> message = "my annotation"
> >> } #'(1 . 2) "my footnote" Slur a4_\the-footnote-hook ( ...
> >>
> >> vs.
> >>
> >> \criticalRemark \with {
> >> message = "my annotation"
> >> footnote-offset = #'(1 . 2)
> >> footnote-text = "my footnote"
> >> } Slur a4_\the-footnote-hook ( ...
> >
> > The first is less keystrokes, but the second makes the code so much
> > easier to read, that I prefer it. The keystrokes might be reduced by
> > autocompletion in the editor.
> >
> >>
> >> vs. either of the above *without* the need for the footnote hook at
> >> all. I'm not totally sure how easy/possible it would be to automate
> >> the footnote by the presence of offset/text arguments, but I
> >> certainly think it would be work trying. Of course, I can see why
> >> taking away that need for a hook could also be considered somewhat
> >> intrusive of the package, so opinions *against* that would be good to
> >> hear.
> >
> > It would be good to have a possibility of using the message as
> > footnote-text, perhaps triggering the footnote through a boolean then.
> > I would certainly prefer not to need a footnote hook; it seems
> > somewhat redundant from a user’s perspective.
>
> I also have the impression that everything that has to be written
> *outside* the \with {} makes the whole thing rather cluttered (and we
> also have to take into account that we need different syntax for
> \override and \tweak-style annotations).
> So if it's possible to avoid having to do that I think it would be
> definitely preferable.
>
> Urs
>
>
> >
> > Best, Simon
> >
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Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

​This footnote feature is now up-and-running, for those who are interested.

https://github.com/openlilylib/scholarly/tree/footnotes-feature

There is an example doc also: usage-examples​/footnote-trigger-test.ly

-j

On Mon, Jul 4, 2016 at 9:31 PM, Jeffery Shivers 
wrote:

> Now offset and footnote (text) can be set in the properties list.
> `footnote = "text"` can be explicitly set and used for the footnote text,
> or, if not set, `message = "text"` is assumed to be the footnote text, if
> made into a footnote at all.
>
> \criticalRemark \with {
> message = "my message; could be a footnote too"
> offset = #'(1 . 1)% tells scholarLY to make a footnote of this
> footnote = "this could be a shorter footnote than message, and
> will become the footnote if used"
> } ...
>
> Since offset is presumably always going to be used for footnotes, I think
> *that* should be what triggers the footnote. So, inclusion of `offset =
> #'(...)` will tell scholarLY that the annotation is a footnote; otherwise
> it *isn't*. If it's preferred to rather have an explicit boolean (like
> apply-footnote = ##t, or whatever), that could work. But I will say that I
> prefer using something as obvious as offset as a sort of automatic
> indication of footnote-ness.
>
> -j
>
> On Sun, Jul 3, 2016 at 11:15 AM, Urs Liska  wrote:
>
>>
>>
>> Am 03.07.2016 um 14:48 schrieb Simon Albrecht:
>> > On 03.07.2016 03:34, Jeffery Shivers wrote:
>> >> I'd appreciate any thoughts on the following syntax for implementing
>> >> footnotes with annotations:
>> >>
>> >> \criticalRemark \with {
>> >> message = "my annotation"
>> >> } #'(1 . 2) "my footnote" Slur a4_\the-footnote-hook ( ...
>> >>
>> >> vs.
>> >>
>> >> \criticalRemark \with {
>> >> message = "my annotation"
>> >> footnote-offset = #'(1 . 2)
>> >> footnote-text = "my footnote"
>> >> } Slur a4_\the-footnote-hook ( ...
>> >
>> > The first is less keystrokes, but the second makes the code so much
>> > easier to read, that I prefer it. The keystrokes might be reduced by
>> > autocompletion in the editor.
>> >
>> >>
>> >> vs. either of the above *without* the need for the footnote hook at
>> >> all. I'm not totally sure how easy/possible it would be to automate
>> >> the footnote by the presence of offset/text arguments, but I
>> >> certainly think it would be work trying. Of course, I can see why
>> >> taking away that need for a hook could also be considered somewhat
>> >> intrusive of the package, so opinions *against* that would be good to
>> >> hear.
>> >
>> > It would be good to have a possibility of using the message as
>> > footnote-text, perhaps triggering the footnote through a boolean then.
>> > I would certainly prefer not to need a footnote hook; it seems
>> > somewhat redundant from a user’s perspective.
>>
>> I also have the impression that everything that has to be written
>> *outside* the \with {} makes the whole thing rather cluttered (and we
>> also have to take into account that we need different syntax for
>> \override and \tweak-style annotations).
>> So if it's possible to avoid having to do that I think it would be
>> definitely preferable.
>>
>> Urs
>>
>>
>> >
>> > Best, Simon
>> >
>> > ___
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>> > lilypond-user@gnu.org
>> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
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Re: Sorting out annotation interface questions (GSoC)

[Jeffery Shivers]

I suggest the distinction between annotation type (critical remark, etc.),
edition type (addition, emendation, etc.), and observation type (addition,
emendation, etc.). This is a fairly loose naming scheme, but I'll clarify
that it's all oriented to the usual annotations interface (so not referring
to new hooks independent of annotations yet, though I agree those
should/could be available as well at some point).

In context, and including the use of "category" as well:

\criticalRemark% annotation type
\with {
message = "This slur was later added by the composer."
observation = addition% observation of an addition; not our
application of it.
category = phrasing
}

\musicalIssue% annotation type
\with {
message = "I added the slur."
edition = addition% applies our edition
category = phrasing
}

Category and observation could both be used for filtering/sorting
annotations, so there's that additional benefit of having those
distinctions. Again, everything that goes into those lists can be set by
the user. Same for "edition", as well as for how the items are uniquely
affected (user decides the `foo` edition type will make slurs dashed,
noteheads parenthesized, etc.), if at all:

Perhaps `apply-edition` should rather be the property for automated
editions, and simply `edition` will *not* automate anything, but will still
indicate what the author has done and will be available and sortable as a
sort of static property, similar to category and observation. In the
critical reports, both `apply-edition` and `edition` could at that point
appear as `edition` (if chosen to be printed in the report at all, of
course).

Further down the road, we could also implement edition priorities
(separately from annotation priority, which is another upcoming feature for
general sorting/filtering annotations by priority), where certain
individual specified editions can *always* be applied/forced regardless of
mode/options. So this also brings up the idea that the printing/exporting
of annotations can be themselves sorted/filtered, while the application of
their editions (if any) are *independently* filtered/sorted, if desired.
This sort of does the same thing as I suggested with edition/apply-edition,
but from a different angle. Since the aim is to be as flexible as possible,
it may be wise to start with both angles as a possibility from the get-go.

On Mon, Jun 27, 2016 at 7:57 AM, Urs Liska  wrote:

> Hi Simon,
>
> thanks for the feedback.
>
>
> Am 27. Juni 2016 13:21:25 MESZ, schrieb Simon Albrecht <
> simon.albre...@mail.de>:
> >On 27.06.2016 00:55, Urs Liska wrote:
> >> \musicalIssue \with {
> >>author = "Urs Liska"
> >>context = "violin 1"
> >>message = "Slur obviously forgotten in original edition"
> >>apply = addition
> >> } Slur
> >>
> >> My question is: is this "application" the same as the type of
> >annotation
> >> action from the previous issue? Or could it occur that a project
> >wants
> >> to document types of editorial decisions independently from applying
> >> visual indications of that?
> >
> >A few unsystematic thoughts:
> >Well, there are limits to visual indication of critical matters. At
> >least in some projects it will be impossible for the score to contain
> >(or even hint to) every bit of information present in the Critical
> >Report.
> >I really think we should allow for great diversity in the possible
> >approaches, i.e. editorial policies.
>
> We certainly don't intend to impose editorial policies but to provide the
> tols to tailor project specific behaviour.
>
> By default annotations dob't have any impact on the layout (which is
> crucial) but just colorize objects while in draft mode.
>
> Additionally we'll provide generic commands that can be used to visually
> indicate certain types of editorial action.
>
> For example something like \editorialAddition can be used to indicate
> something that is missing in the source and has been added by the editor.
> By default this might make slurs dashed and parenthesize other types of
> elements. Of course the visual appearance will be configurable so only the
> semantic command is inserted in the music.
>
> Now annotations *can* trigger the application of such editorial commands
> (which can also be used independently from annitations).
> My question is: are the *type* of decision and the triggering oc commands
> inherently independent so we should implement both a property forvthe
> annotation type *and* the applied command or could they be "merged"?
>
> > In some cases it might be good to
> >have a simple switch (modernise lyrics or not);
> >in other cases everything must be decided on a case-by-case basis, with
> >
> >no automation being possible;
> >and the type of annotations one will have, as well as how to display
> >them in both the score and the critical apparatus, will be very
> >different depending on the project.
>
> Of course, 

Re: GSoC update; Q's about final/draft modes, and triggering footnotes

[Jeffery Shivers]

Absolutely - in fact, using the presence of offset to indicate *I'm a
footnote* was just a practical solution since I am sure some projects won't
*always* want annotations to become footnotes, and with this check
 wouldn't need to specify explicitly *when* and *when not*.

However, maybe it would be best to go ahead and use a global boolean
((true) annotations always footnotes (regardless of offset), or (false)
only when set in each context-mod to true (which could still be taken from
offset's presence to avoid an additional/separate indication - at least
while automatically-placed offsets don't exist). That may be the more
appropriate way to handle it.

Hmm, intelligent/automatic footnote offsets - that sure would be nice.

On Tue, Jul 5, 2016 at 2:51 AM, Simon Albrecht 
wrote:

> On 05.07.2016 03:31, Jeffery Shivers wrote:
>
>> Since offset is presumably always going to be used for footnotes, I think
>> *that* should be what triggers the footnote. So, inclusion of `offset =
>> #'(...)` will tell scholarLY that the annotation is a footnote; otherwise
>> it *isn't*. If it's preferred to rather have an explicit boolean (like
>> apply-footnote = ##t, or whatever), that could work. But I will say that I
>> prefer using something as obvious as offset as a sort of automatic
>> indication of footnote-ness.
>>
>
> As long as one _has_ to manually specify the offset, that’s sensible. And
> if Lily ever gets clever enough to place the footnote items on her own, it
> will be easy enough to change this behaviour, I assume.
>
> Best, Simon
>
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Re: Lilypond-book question

[Jeffery Shivers]

Hi Raphael,

The instructions for setting up lilypond on the command line are here:
http://lilypond.org/macos-x.html

Note that `lilypond` and `lilypond-book` etc. are distinct scripts. Just
having the package on your computer doesn't automatically point the
terminal to lilypond.

best,
Jeffery

On Sat, Jul 9, 2016 at 4:14 PM, flup2  wrote:

> Hello,
>
> At first look, it seems that your terminal settings do not include the path
> to lilypond-book.
>
> There are multiple ways to solve it:
> - use the complete command (quite boring...). If lilypond is placed in your
> Applications folder, the complete path should be
>
> - add lilypond-book path in the PATH. Usually, this is done by editing the
> .profile file in your user folder, using the terminal (I use "pico
> .profile")
>
> Regarding TeXmaker, I cannot help now (I would need time to look at), but I
> guess you need to show the complete path of lilypond-book to TeXMaker
>
> Philippe
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Lilypond-book-question-tp192449p192461.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: state-of-the-art for algorithmic hooks and Lilypond+(La)TeX

[Jeffery Shivers]

Hi Kieren,

He’s **extremely** interested in the possible hooks from Lilypond to
> algorithmic music generation, and the interweaving of music with text
> (e.g., LaTeX). I’m hoping to get him hooked on the ‘Pond, beyond the
> high-energy sales pitch I gave him in person.


This is great! Some people have already done great work in incorporating
LilyPond and LaTeX. On the topic of Abjad, there is coincidentally a 5-day
workshop on using it (led by the creators) that starts today at Stanford:

https://ccrma.stanford.edu/workshops

I've recently done a full musical score entirely in TeX without LilyPond or
any other language/interface (although, it is more of a non-traditional
"graphic" score that doesn't utilize western notation). So, with the right
project, that's certainly a possibility by itself. TeX is extremely
flexible/extendable due to all of the packages available, including
lilyglyphs:

https://www.ctan.org/pkg/lilyglyphs?lang=en

... and musicexamples:

https://github.com/uliska/musicexamples

... both written by Urs Liska (who will likely have more add to this
conversation). There are a range of examples of the LilyPond engraving
capabilities here:

http://lilypond.org/examples.html

And openlilylib in general:

https://github.com/openlilylib

... is a resource for lots of new LilyPond-specific tools, in addition to
the LilyPond Snippet Repository:

http://lsr.di.unimi.it/LSR/Search

On the note of using algorithmic composition directly in LilyPond source
code, I can't comment from direct experience. But if the composer is
fluent/comfortable in Scheme (or functional programming in general), I
believe that LilyPond would be a more than suitable arena for implementing
those techniques, or at least experimenting before "giving up*, or even
before moving on to more advanced workflows like Abjad which really do
require some time (and a lot of confidence in committing that time) to
understand.

HTH,
Jeffery

On Mon, Jul 11, 2016 at 1:55 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hello all,
>
> This past week, I was in Pittsburgh on music business (a long-term
> commissioning project incorporating binaural recording technologies and a
> bunch of other exciting stuff).
>
> While there, I established a very strong relationship with a composer,
> sound designer, and electrical engineer who loves open source music
> technologies. He was thrilled to hear about Lilypond's recent improvements
> and successes: he only vaguely knew about Lilypond from its very first days
> (having always been heavily involved with MusiXTeX).
>
> He is well-connected (IRCAM, UCSD, etc.etc.etc.) and quite brilliant. He’s
> **extremely** interested in the possible hooks from Lilypond to algorithmic
> music generation, and the interweaving of music with text (e.g., LaTeX).
> I’m hoping to get him hooked on the ‘Pond, beyond the high-energy sales
> pitch I gave him in person.
>
> 1. On the topic of algorithmic stuff, I sent him the link to Abjad. If
> there’s a better starting place, or other links I should forward to him,
> please let me know!
>
> 2. For Lilypond+(La)TeX, I want to send him to examples of the bleeding
> edge (or at least most stable state-of-the-art) work in that direction.
> What are the first links I should send him?
>
> Thanks,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Emacs for LilyPond with embedded scheme

[Jeffery Shivers]

Hi,

Are there any emacs packages that currently provide (good) syntax
highlighting and indentation for lilypond *including* embedded scheme?

I've tried using lilypond-mode, but have had a better experience just
sticking to scheme-mode when working with lilypond files that are mostly
scheme (that is to say, `.ily` files which are not the actual music
documents). It would be nice to use a single mode that really supports both.

Thanks for any info,
Jeffery
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Re: New LilyPond website

[Jeffery Shivers]

e what you've done. I certainly wouldn't
> >> mind
> >>>>>> seeing the main site go this route, but I'm okay with it as it is
> >> if that's
> >>>>>> not the consensus.
> >>>>>>>
> >>>>>>> A couple of first impressions/thoughts:
> >>>>>>> 1. When I accessed the site, I couldn't see any images (except
> >> for
> >>>>>> the snippets on the examples page). Any idea why?
> >>>>>>> 2. On the "Learn" page, the Split HTML and Big HTML buttons
> >> shouldn't
> >>>>>> say "Download" because they are accessed online. Maybe "View"?
> >>>>>>> 3. I realize the site is just a prototype, but I think it would
> >> be
> >>>>>> better to not use the image found on the Making Notes blog as the
> >> post
> >>>>>> header image for the blog posts.
> >>>>>>>
> >>>>>>> Great work! Can't wait to see the next iteration!
> >>>>>>>
> >>>>>>> Best,
> >>>>>>> Abraham
> >>>>>>>
> >>>>>>> 
> >>>>>>> View this message in context: Re: New LilyPond website
> >>>>>>
> >> <http://lilypond.1069038.n5.nabble.com/New-LilyPond-
> website-tp197212p197214.html>
> >>>>>>> Sent from the User mailing list archive
> >>>>>> <http://lilypond.1069038.n5.nabble.com/User-f3.html> at
> >> Nabble.com.
> >>>>>>>
> >>>>>>> ___
> >>>>>>> lilypond-user mailing list
> >>>>>>> lilypond-user@gnu.org 
> >>>>>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> >>>>>> <https://lists.gnu.org/mailman/listinfo/lilypond-user>
> >>>>>>>
> >>>>>>
> >>>>>>
> >>>>>
> >>>>>
> >>>>> --
> >>>>> John roper
> >>>>> Freelance Developer and Simulation Artist
> >>>>> Boston, MA USA
> >>>>> http://jmroper.com/
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>> --
> >>>> John Roper
> >>>> Freelance Developer and Simulation Artist
> >>>> Boston, MA USA
> >>>> http://jmroper.com/
> >>>>
> >>>
> >>>
> >>>
> >>> --
> >>> John Roper
> >>> Freelance Developer and Simulation Artist
> >>> Boston, MA USA
> >>> http://jmroper.com/
> >>>
> >
> > --
> > Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail
> gesendet.
> >
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Re: BBC SO playing from a Lilypond score

[Jeffery Shivers]

The score looks beautiful - congrats!

On Wed, Dec 7, 2016 at 6:07 PM, Dominic  wrote:

> Hi everyone,
>
> Tonight (7.30pm on BBC Radio 3), the BBC Symphony Orchestra will be giving
> the premiere performance of Diana Burrell's 'Concerto for Brass and
> Orchestra'. I typeset the score and parts entirely using Lilypond 2.19 a
> few
> months ago. Lilypond helped me achieve lots of things that would have been
> very awkward in other software, such as cross-staff stems, tuplets over
> barlines, augmented unisons, reliably cued parts, and automatically
> calculated page-turns (with rests on the bottom right pages)... all handled
> in a completely robust and reliable manner.
>
> I've got absolutely no idea how the piece will sound; I entered it from the
> composer's manuscript and never exported a MIDI file.
>
> Image of the first page attached:
>
> <http://lilypond.1069038.n5.nabble.com/file/n197758/page_1_%28small%29.png
> >
>
> Dominic
>
>
>
> --
> View this message in context: http://lilypond.1069038.n5.
> nabble.com/BBC-SO-playing-from-a-Lilypond-score-tp197758.html
> Sent from the User mailing list archive at Nabble.com.
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