Re: How to Import MIDI and ETF files in LilyPond

[Mats Bengtsson]

Luc wrote:

under windows xp I get errors too with midi2ly when the filename contains
spaces like in yours - see yourself:

C:\>midi2ly "C:\Dokumente und
Einstellungen\user1\Anwendungsdaten\Bach-Brandenbu
rg 3 - 1- Oktav Seite1.mid"

Traceback (most recent call last):
  File "C:\Programme\LilyPondDevel\usr\bin\midi2ly.py", line 991, in ?
main()
  File "C:\Programme\LilyPondDevel\usr\bin\midi2ly.py", line 989, in main
convert_midi (f, o)
  File "C:\Programme\LilyPondDevel\usr\bin\midi2ly.py", line 810, in
convert_mid
i
str = open (in_file).read ()
IOError: [Errno 2] No such file or directory: 'C:\\Dokumente'

So a solution could be to move that file to another directory and replace
the spaces in the filename by underscores or so.
  
Isn't it easier to use the folder where the file is placed, as the 
working directory:

cd "C:\Dokumente und Einstellungen\user1\Anwendungsdaten\"
then there should be no need to move the files around. You still might 
have to rename

the file to avoid the spaces in the file name itself, though.

   /Mats



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Re: How to Import MIDI and ETF files in LilyPond

[Mats Bengtsson]

See http://lists.gnu.org/archive/html/lilypond-user/2008-01/msg00673.html

  /Mats

Matthew wrote:
Please help me. I have tried to import in LilyPond some files in MIDI or ETF 
format. I've used command line; when I write the command, an error message is 
displayed; sometimes I'm told that the file is not specified. Can you give me 
an exemple very clear of how to write the command. Let's consider that my MIDI 
file is "Fur Elise", located in c:\Documents and Settings\My Documents\; How 
must I write the command line to import it in LilyPond and convert it in pdf 
format?

Please help me. I want to use LilyPond.



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Sweden
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Re: Rhythms with no staff lines but with bar lines

[Mats Bengtsson]

By default, the length of each bar line is calculated from the height of 
the staff symbol.

Just add a setting
\override BarLine #'bar-size = #4
in your Staff definition. Note that there is no need to add the bar 
engraver at the voice level,

the existing bar engraver in the Staff context will do the job.

   /Mats

Adam Orris wrote:

Hello,

I want to display rhythms without the staff, but with
bar lines.

I removed the Staff_symbol_engraver from the context of the Staff and
attempted to add the Bar_engraver to the context of the Voice.  The
staff lines are gone but there are no bar lines.

I am using version 2.11:

\new Staff \with {
 \remove Staff_symbol_engraver
 \remove Time_signature_engraver
 \remove Clef_engraver
}

<<
 \new Voice \with {
   \consists Bar_engraver
 }
 \relative c'' {
   a8 a4 a8 a4 a \bar "|" r8 a4. a2
 }
  



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Re: *.mid vs *.midi

[Mats Bengtsson]

I would propose to move the remainder of this discussion off the mailing 
list.


Regards

   /Mats

Hans Aberg wrote:

On 19 May 2008, at 14:02, immanuel litzroth wrote:


It is of a formal grammar, since it does not define a sentence
symbol, nor does it specify context dependencies. For the formal
definition of a grammar, see books on compiler construction, for
example Waite & Goose, "Compiler Construction".


Please stop pretending you are have to educate me on the technical 
aspects. The C++ formal grammar ...


You obviously don't know what you are speaking about, when calling it 
a "formal grammar".


while not up to mathematical precision is formal enough to base 
implementations on.


And it is obviously not possible to do that unless have the grapevine 
information about what the sentence symbol.


It is what you get in computer science and the general idea is that 
it could be made precise but that is just not worth the trouble.


It doe not do that, because the effort attempting to do so have not 
been successful.



implementation contains a preprocessor capable of macro
substitution,
conditional compilation, and inclusion of named files.


I could not even find preprocessor in the index, just preprocessing 
directive. Care to give a page reference with this quote?


I gave a quote from Bjarne Stroustrup's book. It is a common informal 
lingo used by all C/C++ programmers I know of, and also sometimes by 
others who run it before compiling other languages.



This is what I am saying: one runs the preprocessor to get a
translation unit, which then define what I call the "language
proper".


I don't care what *you* call it. Most people agree that source files 
hold the language constructs.


That is not the common C/C++ lingo.


So what does that statement imply about order of module
imports,
making sure one is not loaded more than once even called for, in
the
module declarations and recursive modules?


Yes, indeed. They do not seem to mention any of this, maybe because 
these things are not defined in the language.


Try to replace the "import" in some Haskell modules calling each other 
with "#include" and run the C preprocessor and then compile the output 
in Haskell, to see what happens.


  Hans




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Re: Error when trying to install LilyPond under kubuntu

[Mats Bengtsson]

You have to replace the X.Y.Z with the actual version number of the file 
you downloaded.


First of all, make sure that your working directory is the directory 
where you downloaded
your file. Then, the easiest way to get the filename correct is to let 
the command shell automatically

fill in the file name. So, type in
sh lily
and then press the TAB key, which fills in the file name and results in 
something like

sh lilypond-2.10.33-1.linux-x86.sh
Then you can press enter.
I would recommend you to do this as root, since then the lilypond 
program will installed in

/usr/local/bin/
which should be included in your search path by default. If you run the 
installation as a
normal user, the lilypond program will instead be installed in 
$HOME/bin/, which on most
Linux installations means that you have to add $HOME/bin/ to your $PATH 
environment

variable in order to be able to run the program.

   /Mats

Silvan wrote:

Hi @ all

I tried to install LilyPond using the command "sh lilypond-X.Y.Z.linux-x86.sh".
Unfortunately i get the reply "sh: Can't open lilypond-X.Y.Z.linux-x86.sh".
Executing the command as root doesn't change anything. My OS is kubuntu 8.04.

Can you help me?

Thanks in advance

Silvan



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Re: Lyrics to rests?

[Mats Bengtsson]

Valentin Villenave wrote:



\addlyrics {
 "1" "+ 2 " "+" "3" "4" | "1" "+ 2 +" "3   4"
}



You are using explicit durations here; 


No! The \addlyrics construct copies the durations from the music, i.e. 
any durations specified

explicitly in the lyrics are ignored.

The simplest way I can think of to align a syllable with a rest is to 
add an invisible note in parallel

with the rest, which the lyrics can align to:
\version "2.11"

\new RhythmicStaff {
  \override Score.StaffSymbol #'stencil = ##f
  f8 f4 f8 f4 f | <> f4. f2 |
}

\addlyrics {
 "1" "+ 2 " "+" "3" "4" | "1" "+ 2 +" "3   4"
}

An alternatative is to do what Valentin hinted at, namely to not use 
\addlyrics but rather

use explicit durations for each syllable.

  /Mats


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Re: an output question

[Mats Bengtsson]

At least on Linux machines, there are several useful tools to do these 
things in Postscript files,
for example psnup and pstops. Also, if you use the CUPS printer driver, 
there's an option to lpr

to get 2-up printing of any document.

   /Mats

James E. Bailey wrote:
I was just wondering if it's possible to get lilypond to print 2-up. 
So I get two A4 sheets on one A3 sheet? I know I can do it in acrobat, 
but I like to use acrobat as infrequently as possible, and I've 
actually never used ghostscript directly.



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Re: 12/8 problems

[Mats Bengtsson]

As long as you have \time 4/4, LilyPond will fit in exactly 4/4, i.e. 8 
eighth notes in each measure.
Just as the other reply you have received, I don't really understand why 
you don't use \time 12/8
directly. However, there are cases where you may want 12/8 in one part 
staying synchronized
with 4/4 in some other part. Read the paragraph entitled "Staves with 
different time signatures, equal measure lengths" in the section on 
"Polymetric Notation" in the manual for more information on how to

typeset such scores.

   /Mats

Jon wrote:

I'm really starting to wrap my brain around the idea
of using this software over other notation software,
but I am having a problem. Here is a basic template below:

\version "2.10.33"
\header {
}
\include "english.ly"
staffTrombone = \new Staff  {
\time 4/4
\set Staff.timeSignatureFraction = #'(12 . 8)
\set Staff.instrument="Trombone"
\set Staff.midiInstrument="trombone"
\key d \major
\clef bass
\relative c' {
%bar 1
d4. d4. d4. d4.
}
}

When I run the script and the music gets parsed,
the dotted quarter notes are in groups of three
instead of four, like it is 9/8 instead of 12/8.
Any way to get this properly notated?
Thanks a bunch for the help.

Jon



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Re: clef question

[Mats Bengtsson]

James E. Bailey wrote:
Is it possible to get lilypond to use two clefs? I'm looking at some 
music wherein two clefs are used. I see the documentation on adding 
clefs as a markup, but then I don't get the key signature doubled, 
which I kinda need. 
You lost me here! Can you please clarify what layout you want and 
exactly what place in the

documentation you refer to.

Or is there a way to print my own key signature independently, and 
place it wherever I want to?

Does this question have anything to do with the clefs?

/Mats



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Re: multiple tempi at the same time

[Mats Bengtsson]

See the section on "Polymetric notation" in the manual (second time 
today that I refer to the
same section). See also 
http://lists.gnu.org/archive/html/lilypond-user/2008-01/msg00860.html.


   /Mats

Yvan Vander Sanden wrote:

Hey.
 
I know i can use different kinds of measures at the same time, but 
what about having staffs with their own tempo? And how to have staves 
align to reflect that?
 
I tried to use \tempo 4 = 60 and such, but that doesn't work. (It 
works, but the tempo is just changed for all staves at every instance...)
 
Regards,
 
yvan


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Re: How to show a small glissando?

[Mats Bengtsson]

If you add the following two lines before the first note, the note 
spacing will be adjusted, when
necessary, to give each glissando a minimum length (which is long enough 
that it's also printed).


\override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods
\override Glissando #'minimum-length = #4


   /Mats

Arjan Bos wrote:

Dear list,

Could someone please show me how to make a \glissando appear when the 
notes are very close to each other?


See this small example:
\version "2.11.45"

\paper { ragged-right = ##t } %% makes the first \glissando disappear

\score {
  \relative c'' {
es8\glissando d4.~ d2 \glissando |
e1 |
  }
}







Thanks in advance,

Arjan



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Re: Whole bar rests - in the wrong place

[Mats Bengtsson]

I would guess that you are in the middle of some polyphonic section, 
perhaps you used the

<<{...} \\ {...} >> construct? Or maybe you inserted a \voiceOne somewhere?

   /Mats

George_ wrote:

Hi all

I was typesetting some stuff and I put in a whole bar rest:

%%

  R2.^\fermataMarkup |

%%

Instead of hanging from the second line as the full-bar rest should, it
hangs from the top line of the staff. So, what's going on?

Thanks

George
  


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Re: Whole bar rests - in the wrong place

[Mats Bengtsson]

If you have a monophonic section in the middle of an otherwise 
polyphonic piece, you can
use the \oneVoice command to get the normal settings for stem directions 
and rest positions
and then \voiceOne when you to back to being the top voice in polyphony. 
Please read
section "Explicitly instantiating voices" in the manual (in the Learning 
Manual if you look
at the documentation for version 2.11) to get a clearer picture of what 
happens.


If you just want the full measure rests to stay on the middle line but 
the directions of stems,
slurs, ... to always be upwards in your top voice, you can also revert 
only the specific setting
related to the full measure rests, see 
http://lists.gnu.org/archive/html/lilypond-user/2004-03/msg00198.html


  /Mats

George_ wrote:

Yeah, it's part of the top voice. So is there a way to move it back to its
original place? Because there it's the only thing that should show up on the
staff.

Thanks

George


Mats Bengtsson-4 wrote:
  
I would guess that you are in the middle of some polyphonic section, 
perhaps you used the

<<{...} \\ {...} >> construct? Or maybe you inserted a \voiceOne
somewhere?

/Mats

George_ wrote:


Hi all

I was typesetting some stuff and I put in a whole bar rest:

%%

  R2.^\fermataMarkup |

%%

Instead of hanging from the second line as the full-bar rest should, it
hangs from the top line of the staff. So, what's going on?

Thanks

George
  
  

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Re: "header", "layout" and "paper" blocks as variables...

[Mats Bengtsson]

As far as I can see in the source code, there is no support to assign a 
\header block to a variable.
However, for \paper and \layout it should work fine. However, when you 
use the variables,
you have to include them in a corresponding \paper or \layout block. 
Example:


% Define default paper and layout blocks:
mypaper = \paper{
 left-margin = 1.5\cm
}

mylayout = \layout{
 raggedright = ##t
}

% Use the definitions:
\paper{\mypaper}

\layout{\mylayout}

Note also that if you want to merge several settings, you cannot do
\layout{\mylayout \mysecondlayout }
rather you have to do
\layout{\mylayout}
\layout{ \mysecondlayout }
which works, since every new \layout block will add to the existing 
settings.


/Mats



padovani wrote:

hi.
is there a way to put the header, layout and block values as variables?

I woul like to use something like

myheader = \header { . }
mylayout = \layout {  }
mypaper = \paper { }

and then call these variables to construct my score...

I tried but I get errors like:

./instr/comhead.ly:69:8: error: syntax error, unexpected STRING
 tagline = ##f
./instr/comhead.ly:70:26: error: unknown escaped string: `\cm'
   left-margin = 1.5
 \cm
./instr/comhead.ly:71:27: error: unknown escaped string: `\cm'
   right-margin = 1.5
  \cm
./instr/comhead.ly:72:25: error: unknown escaped string: `\cm'
   top-margin = 0.5
\cm
./instr/comhead.ly:73:28: error: unknown escaped string: `\cm'
   bottom-margin = 0.5
   \cm


(continues.)

any tips? Or am I doing something stupid?
thanks


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Re: "header", "layout" and "paper" blocks as variables...

[Mats Bengtsson]

Valentin Villenave wrote:

2008/5/23 Mats Bengtsson <[EMAIL PROTECTED]>:
  

As far as I can see in the source code, there is no support to assign a
\header block to a variable.
However, for \paper and \layout it should work fine.



If I remember correctly, it only works for simple definition (e.g. not
\context \consists stuff etc).
  

I don't think you remember correctly:

\version "2.11"
mylayout = \layout {
 \context{ \Voice fontSize = #-3 }
}

\layout{\mylayout}
\relative c'{ c  d e f }

   /Mats


Cheers,
Valentin
  


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Re: smart transpose snippet from the LSR is not working with 2.11.43

[Mats Bengtsson]

As you probably know, the LSR site runs version 2.10.something.
However, most (!?) LSR snippets have been updated for version 2.11 and 
are included

in the documentation for 2.11. If you look at the corresponding snippet at
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Pitches#Pitches
you should find a version that works well for you.

   /Mats

Ole Schmidt wrote:

I attach the snippet below, it is not working under 2.11.43
if someone can confirm it or take a look in the code,

thanks  ole





#(define  (naturalise-pitch p)
  (let* ((o (ly:pitch-octave p))
 (a (ly:pitch-alteration p))
 (n (ly:pitch-notename p)))

(cond
 ((and (> a 1) (or (eq? n 6) (eq? n 2)))
  (set! a (- a 2))
  (set! n (+ n 1)))
 ((and (< a -1) (or (eq? n 0) (eq? n 3)))
  (set! a (+ a 2))
  (set! n (- n 1

(cond
 ((> a 2) (set! a (- a 4)) (set! n (+ n 1)))
 ((< a -2) (set! a (+ a 4)) (set! n (- n 1

(if (< n 0) (begin (set!  o (- o 1)) (set! n (+ n 7
(if (> n 6) (begin (set!  o (+ o 1)) (set! n (- n 7

(ly:make-pitch o n a)))

#(define (naturalise music)
  (let* ((es (ly:music-property music 'elements))
 (e (ly:music-property music 'element))
 (p (ly:music-property music 'pitch)))

(if (pair? es)
(ly:music-set-property!
 music 'elements
 (map (lambda (x) (naturalise x)) es)))

(if (ly:music? e)
(ly:music-set-property!
 music 'element
 (naturalise e)))

(if (ly:pitch? p)
(begin
  (set! p (naturalise-pitch p))
  (ly:music-set-property! music 'pitch p)))

music))

music =  \relative c' { c4 d  e f g a b  c }

naturaliseMusic =
#(define-music-function (parser location m)
(ly:music?)
(naturalise m))

\score {
   \context Staff {
\transpose c ais \music
\naturaliseMusic \transpose c ais \music
\transpose c deses \music
\naturaliseMusic \transpose c deses \music
  }
  \layout { ragged-right = ##t}
}

%


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Re: include libraries

[Mats Bengtsson]

Valentin Villenave wrote:

2008/5/29 Stefan Thomas <[EMAIL PROTECTED]>:

  

since I work with lilypond, I've made some libraries with a lots of
user-defined commands. Now I would like to know:
is it possible to include these files automatically in any of my
lilypondfiles, without the "\include"-command?



You can add your include in the init.ly file (something like
LilyPond\usr\share\lilypond\current\ly\init.ly on MS Windows).
  

Which means that the change is lost the next time you upgrade your LilyPond
installation. This issue has recently been discussed, see
http://lists.gnu.org/archive/html/lilypond-user/2008-05/msg00306.html
and other emails in this long thread.

   /Mats

Cheers,
Valentin


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Sweden
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Re: note head in denominator - snippet doesn't work

[Mats Bengtsson]

The same problem appears in 2.10 and 2.11. It's really weird, since the 
same markup works
well in other places, even when typeset using the same stencil function, 
ly:text-interface::print
as the following example shows. I cannot see any other property setting 
on TimeSignature that

might influence it.

tsMarkup =\markup {\column {  \number "4" \note #"2" #0.75 } }
% Works as standalone markup:
\tsMarkup

{
% Broken as time signature
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text = #tsMarkup
% Works as clef
\override Staff.Clef #'stencil = #ly:text-interface::print
\override Staff.Clef #'text = #tsMarkup
% Works as ordinary text script
\time 4/2 c'2 c'4 c'4^\tsMarkup
}

 /Mats

Valentin Villenave wrote:

2008/5/30 Gilles THIBAULT <[EMAIL PROTECTED]>:

  

Perhaps a bug ?



Looks like a regression to me.
Mats, can you confirm before I add it to the tracker?

Thanks,
Valentin
  


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Sweden
Phone: (+46) 8 790 8463 
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Re: download failure

[Mats Bengtsson]

I hope you have started reading the Tutorial (preferably the one for 
version 2.11,

http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/index
which is much improved and still applies almost completely to 2.10).

It's impossible to say anything more specific since you don't say what 
error message
you got, but my guess is that your installation is just fine and that 
you need some

reading to get started.

   /Mats

Peter Helner wrote:

   Dear Sies!
When I, according to instruction (to activate lilypond)put the "welcome to 
lilypond" on the desktop and drop it on the lilypond-icon i only get an 
errormessage.  Greetings from Peter Helner




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Re: Context creation

[Mats Bengtsson]

James E. Bailey wrote:


Am 02.06.2008 um 09:57 schrieb Valentin Villenave:


2008/6/1 James E. Bailey <[EMAIL PROTECTED]>:

How coincidental. I've been wondering myself about the difference 
between
\new and \context. I kinda just use them interchangably and see if 
anything

new happens.


The only difference AFAIK is that \context allows you to tap into an
existing context:

\new Staff = "coolStaff" " { (your music here) }

and then later:

\context Staff = "coolStaff" % look! the same context!
  { (your other music here) }


Cheers,
Valentin



But couldn't you do that with coolStaff = { (my music here) }

\context Staff = \coolStaff

?
No, the point is that you can add contents to an existing context 
"afterwards". A classical
example is shown in the first SATB template in 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Vocal-ensembles#Vocal-ensembles
where you first create an empty Lyrics context and call in sopranos, in 
order to place it above the
staff and then fill it with its contents some lines later in the \score 
block, in order to be able to
use \lyricsto. (In this particular example, there's now an alternative 
solution using aligned contexts,
but before that property was introduced, the only possibility was to use 
\context = "alreadydefinedcontext").


Also, your code isn't syntactically correct. Did you mean
\context Staff \coolStaff ?

  /Mats

   /Mats


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Re: Context creation

[Mats Bengtsson]

I'm not sure that the previous followups to your email has clarified 
this issue completely.
The reason that your example does not do what you expected is that it is 
equivalent to


\version "2.10.33"

\score{
\new Staff = "mycontext" \relative c' { c4 d e f g2. }
}
\score{
\context Staff = "mycontext" \relative c' { g'4 g f e d c1 }
}


Depending on what you want to achieve, you could either do as Kieren 
proposed and
specify that the two lines of music should be consecutive or you could 
say that they
should be typeset in parallel. The following somewhat extended example 
illustrates the
latter case and by introducing an extra stave, I tried to pinpoint why 
you may want to

connect something to an already existing stave:
\version "2.10.33"

\score{
<<
 \new Staff = "mycontext" \relative c' { c4 d e f g2. }
 \new Staff = "inbetween" \relative c''{ c4 b a g f e d c }
 \context Staff = "mycontext" \relative c' { g'4 f e d c1 }
>>
}

   /Mats



Jesse Engle wrote:

If \context allegedly allows one to add notes to an existing context,
why does the following example not do so?

\version "2.10.33"

\new Staff = "mycontext" \relative c' { c4 d e f g2. }

\context Staff = "mycontext" \relative c' { g'4 g f e d c1 }


On 6/2/08, James E. Bailey <[EMAIL PROTECTED]> wrote:
  

Am 02.06.2008 um 12:30 schrieb Mats Bengtsson:



James E. Bailey wrote:
  

Am 02.06.2008 um 09:57 schrieb Valentin Villenave:



2008/6/1 James E. Bailey <[EMAIL PROTECTED]>:

  

How coincidental. I've been wondering myself about the difference
between
\new and \context. I kinda just use them interchangably and see
if anything
new happens.


The only difference AFAIK is that \context allows you to tap into an
existing context:

\new Staff = "coolStaff" " { (your music here) }

and then later:

\context Staff = "coolStaff" % look! the same context!
 { (your other music here) }


Cheers,
Valentin
  

But couldn't you do that with coolStaff = { (my music here) }

\context Staff = \coolStaff

?


No, the point is that you can add contents to an existing context
"afterwards". A classical
example is shown in the first SATB template in
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Vocal-ensembles#Vocal-ensembles
where you first create an empty Lyrics context and call in sopranos,
in order to place it above the
staff and then fill it with its contents some lines later in the
\score block, in order to be able to
use \lyricsto. (In this particular example, there's now an
alternative solution using aligned contexts,
but before that property was introduced, the only possibility was to
use \context = "alreadydefinedcontext").

Also, your code isn't syntactically correct. Did you mean
\context Staff \coolStaff ?

 /Mats

  /Mats
  

Wait, I think I just larned something. If I understand \context is for
referring to a context; whereas \new is for creating the context. So,
if I understand correctly from the manual:
\new Lyrics = sopranos { s1 }
is the same as
\new Lyrics  \lyricsto sopranos \sopWords

Or did I totally miss that?

Oh, and that's why it has to have a name? So it can be referred back
to later on.


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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Algorithm to calculate tuplets?

[Mats Bengtsson]

Quoting Myron Marston <[EMAIL PROTECTED]>:


Isn't there a midi-to-lily converter?  I figure that must have an algorithm
like this...


Yes, midi2ly does include such an algorithm and this is one of the
main reasons that midi2ly isn't as useful as it otherwise might be. Of 
course, an added complication in midi2ly is that the rhythm in the MIDI 
file may not be mathematically strict, so some extra quantization

of the durations is necessary.

  /Mats




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Re: Context creation

[Mats Bengtsson]

How about the following example of how to get an ossia stave for 
alternative versions of the music.
The method described in the manual is somewhat clumsy since you have to 
count the number of
bars to know what \skip commands to insert between each ossia. Here, you 
can enter the two

versions of the music together.

\version "2.10"
\relative c' <<
 \new Staff = ossia \with
 {
   %No time signature in the ossia staff
   \remove "Time_signature_engraver"
   fontSize = #-3
   \override StaffSymbol #'staff-space = #(magstep -3)
   \override StaffSymbol #'thickness = # (magstep -3)
   firstClef = ##f
 }  {\stopStaff s1*4} % Keep the context alive during the full score
 \new Staff {
 c4 d e f |
 << { g a b c }
\context Staff = ossia {\startStaff g8 f g a b a b c \stopStaff } >> |
 b4 a g f |
 << { e4 d c2 }
\context Staff = ossia {\startStaff e8 f e d c2 \stopStaff } >> |
 }
>>


Another fine detail about the difference between \new and \context is 
that if you do

<<
\new Staff = one { c d e f }
\new Staff = one { g f e d }
>>
then LilyPond will take the word "new" more seriously than the "= one", 
i.e. even though you
specify the same name to both staves, you will get a new copy since you 
used \new and not

\context on the second line.

   /Mats

Jesse Engle wrote:

Coffer,

Thanks for the good example, though are there any other uses for
reusing existing contexts other than setting lyrics?

- Jesse

On 6/3/08, coffer <[EMAIL PROTECTED]> wrote:
  

Kieren MacMillan wrote:


Hi Jesse,

  

If \context allegedly allows one to add notes to an existing context,
why does the following example not do so?

\version "2.10.33"

\new Staff = "mycontext" \relative c' { c4 d e f g2. }

\context Staff = "mycontext" \relative c' { g'4 g f e d c1 }


Because you have asked (implicitly) for two different Staff
contexts.  =)

What you want is to force the two musics to be *consecutive* rather
than *concurrent*:

{ \new Staff = "mycontext" \relative c' { c4 d e f g2. } \context
Staff = "mycontext" \relative c' { g'4 g f e d c1 } }

Hope this helps!
Kieren.


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It was helpful for me to understand the example from

http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Divisi-lyrics#Divisi-lyrics

\score{ <<
   \new Voice = "melody" \relative c' {
 c2 e | g e | c1 |
 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
 a2 b | c1}
   \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
 do mi sol mi do
 la si do }
   \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
do re mi fa sol }
   \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
dodo rere mimi fafa solsol }
 >>
 }

In this case the "\context Lyrics" doesn´t start a new line but fit a new
lyrics part in the existing line (stanza). That means "consecutive"
lyrics...

coffer
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Re: piano centered dynamics

[Mats Bengtsson]

This is a known problem that has not made it into the bug tracker, as 
far as I can see.

See http://lists.gnu.org/archive/html/lilypond-devel/2007-04/msg00136.html
Also, as you can see later in the same thread, it doesn't help to add 
the bar engraver
to the context. Here comes a somewhat modified version of the example in 
the above
email, that more clearly shows the problem. Note that this is different 
than issue 621.


\version "2.11.47"
upper = \relative c'' {
\clef treble
\key c \major
\time 4/4


a4 b c d |
e4 e e e |
}


lower = \relative c {
\clef bass
\key c \major
\time 4/4


a2 c |
a1 |
}


dynamics = {
s1\fff\> |
s1\!\pp |
}

% When the dynamics and music are in the same voice, the bar lines are 
avoided:

\new GrandStaff <<
\new Staff \new Voice << \upper \dynamics >>
\new Staff \lower
>>

% When the dynamics is in a separate Voice, you get a collision
% with the bar line. Bug!
\new GrandStaff <<
\new Staff << \new Voice \upper \new Voice \dynamics >>
\new Staff \lower
>>

   /Mats

Jonathan Kulp wrote:
Well, it's not very elegant but it works o.k.  I just override the 
dynamics positioning each time I need it.  I just experimented to find 
the right values.  To make life easier I define the override as a 
variable:


nuj = \once \override DynamicText #'extra-offset = #'(+1.0 . -0.0)

Then I just go through and put \nuj before each dynamic marking that 
needs a nudge to the right.  If someone can make a fix that will let 
Lilypond avoid the collisions in the first place that'd be amazing. 
What I observe is that the dynamics are placed just fine as long as 
the notes in the music staves have some kind of accidental in front of 
them.  Otherwise they're positioned pretty close to the barline and 
the dynamics below end up colliding with a barline.  Best,


Jon

Valentin Villenave wrote:

2008/6/4 Jonathan Kulp <[EMAIL PROTECTED]>:
Well, since no one is going to answer this I guess I'll answer it 
myself:

RTFM (the Learning Manual, that is) :D


I have encountered similar problems with dynamics colliding with
cross-staff barlines, but I never really found a way to get rid of
this annoyance.

My best (and only) guess would be to use the classic workaround used 
for lyrics:

http://lsr.dsi.unimi.it/LSR/Item?id=356
i.e. adding the barline engraver to the dynamics context.

But in fact, it didn't work great so far. Please try it and tell us if
you're luckier than me :-)

Cheers,
Valentin





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Re: Best Text Editor

[Mats Bengtsson]

Read the section called "Text editor support" in the Application Usage 
included in the documentation
for version 2.11. If you search the mailing list archives, you will also 
find other suggestions.


  /Mats

stefanozanobini wrote:

I'm looking for the best text editor in Linux for Lilypond usage.
I suppose Kwrite is quite good, it gives me clearly the structure of a 
.ly file (with colors and bolds), but not always.
Is there a text editor with a specific and complete extensive lilypond 
hilighter?

Bye
stezano


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Re: markup question

[Mats Bengtsson]

As long as you don't have any \key command in your code, no key 
signature at all will be

typeset. Just add a
\key c \major
(or whatever signature) to get the desired symbol.

I hope you know about the built-in capabilities in LilyPond to handle 
non-standard
key signatures. As long as you only want to have normal flat and sharp 
symbols
in your custom key signature, there should be no need to typeset it 
manually using markups.


   /Mats

James E. Bailey wrote:
I'm trying some things and I expected a flat symbol on the bottom line 
but got nothing.

{
\override Staff.Clef #'stencil = #ly:text-interface::print
\override Staff.Clef #'text = \markup \musicglyph #"clefs.C"
\override Staff.KeySignature #'stencil = #ly:text-interface::print
\override Staff.KeySignature #'text = \markup \musicglyph 
#"accidentals.flat"

s1
}

Any ideas as to why?


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Re: note head in denominator - snippet doesn't work

[Mats Bengtsson]

As I just reported on the bug mailing list, I finally managed to find 
the culprit,
namely that the property style was set on the TimeSignature grob. Adding 
the line

\override Staff.TimeSignature #'style = ##f
solves the problem!

   /Mats

Valentin Villenave wrote:

2008/5/30 Mats Bengtsson <[EMAIL PROTECTED]>:
  

The same problem appears in 2.10 and 2.11. It's really weird, since the same
markup works
well in other places, even when typeset using the same stencil function,
ly:text-interface::print
as the following example shows. I cannot see any other property setting on
TimeSignature that
might influence it.



OK, I added it as http://code.google.com/p/lilypond/issues/detail?id=628

Cheers,
Valentin
  


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Re: double notes in stemless notation?

[Mats Bengtsson]

If you show how you combine these two lines of music
in the same stave, it's easier to provide a relevant
answer.

  /Mats

Ivo Bouwmans wrote:


Hallo all,

I am writing four-part choral music in a stemless notation on two 
staves. Here's a brief example:


notesOne = {
\relative {
  \override Stem #'transparent = ##t
  gis'2 a4 b e,
}}
notesTwo = {
\relative {
  \override Stem #'transparent = ##t
  e2 e4 dis e
}}

When the voices have the same note - like the final e in the example 
above -, only one note head is shown (as expected). Is there a way to 
let LP still write two notes, close to each other (like in the case of 
two whole notes coinciding)?


Thanks for any suggestion!




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Re: Place to write piano dynamics

[Mats Bengtsson]

Valentin Villenave wrote:



BTW:
I read, lilypond originally was written in C++, but during the developing 
process
the authors hdecided schema is more suitable for this task.



No. LilyPond was originally written in some other language (I don't
know... Python? TeX?)
  

No, the main part of the LilyPond implementation has always been in C++.
The output was first generated in the form of TeX files with some 
embedded Postscript
code, but nowadays that full scores are generated in Postscript and then 
converted to
PDF, using Ghostscript. Python has always been used for implementing 
utility functions

like convert-ly and lilypond-book.

  /Mats


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Re: Roman numeral analysis

[Mats Bengtsson]

Jesse Engle wrote:


Is it possible to display roman numeral symbols in Lilypond?

 


Of course, just as you can typeset any other text.
Or, do you want something more automated that
treats them specifically as numbers with some special
musical meaning? If you tell more about what you want
to use it for, I'm sure you can get a more helpful answer.

  /Mats


- Jesse


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Royal Institute of Technology
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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: no midi file in the new lilypond for Windows

[Mats Bengtsson]

Risto Vääräniemi wrote:



Do you
remember what was the version you still got the midi file? With 2.10
and 2.11 you must have the \midi block inside a \score block to get
the midi. 


It's always been this way in LilyPond.

   /Mats


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Re: Layout for dummies (fixing staves distances in a system)

[Mats Bengtsson]

Jayaratna wrote:


Dear members,

I am reading this forum since sometimes, as I am doing my first steps in
Lilypond.

I am making a score in which I have two systems of eight staves each per
page (I managed to do that by setting page size to a3 and shrinking it to a4
on printing it: I guess it's not really proper, but I still have to figure
out how to change staves and font size, but this is a different problem).
 


It should be easier to directly reduce the size of the typeset music
so that it fits on A4 paper, by adding a line like
#(set-global-staff-size 18)
at the top of your file (default size is 20), and/or using the first
option mentioned at 
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Fitting-music-onto-fewer-pages#Fitting-music-onto-fewer-pages



Lilypond keeps stretching and narrowing the space between staves, so that my
systems are floating up and down on different pages.

I found some explanations about this already here in the forum, but, as my
english is not good enough and my knowledge of Lilypond is limited, I'd need
some more help.
 


The first thing you should note, is that the spacing mechanisms
are very different in version 2.11 compared to version 2.10, so
many of the hints you find in the mailing list archives from the
last year are not relevant to your version of LilyPond (2.10).

Otherwise, the relevant information for you can be found at
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Vertical-spacing#Vertical-spacing
In short, LilyPond tries to be intelligent about the spacing.

  /Mats


Here is my score block:

%*Score***
\score {




\new StaffGroup <<
\new GrandStaff
<<
\new Staff { \flautoa}
\new Staff { \flautob}  
>>
\new GrandStaff
<<
\new Staff { \Violinoa} 
\new Staff { \Violinob}
>>
\new Staff { \Viola}
\new Staff { \Continuo} 
\new PianoStaff << \cembalo >>


>>

\layout{
\context {
\Score
\override BarNumber #'padding = #2
%#(layout-set-staff-size 8)
}

}
%

How do I get fixed spaces between staves in this code?

I am running Lilypond 2.10.33.

Thanks for your help,
Andrea
 




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Royal Institute of Technology
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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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String syntax, Was: substitution with \movement

[Mats Bengtsson]

Graham Percival wrote:



Oh, come on! What is so hard about typing #?  On an English
keyboard, you already need to be pressing the shift key to get the
" that you'll type for your string anyway.

Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.
 


Do you really mean "all the time", i.e. even in situations like

\new Voice = "one" { ... } 
...

\new Lyrics \lyricsto "one" { ... }


as described in LM 3.2.3, for example? In that case, you've
given your GDP helpers some extra job.

   /Mats


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Re: Roman numeral analysis

[Mats Bengtsson]

If you search the mailing list archive, you will for example find
http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00127.html
which contains an attached example that might be useful.

   /Mats

Jesse Engle wrote:


I hoped there might be a seperate context for roman numerals similar
to the ChordNames context, in which you would specify the roman
numeral and its inversion (and any alterations using figured bass),
along with a duration. Depending on the duration of the chord in
question, the context would automatically create a prolongational line
up to the next chord.

This is just some stuff off the top of my head. I know that figured
bass can already be displayed, but maybe it wouldn't be a bad idea to
have a seperate "FunctionalAnalysis" context that encompasses all that
I just talked about, including figured bass...

At any rate, what are my options?

Thanks!

- Jesse

On Wed, Jun 11, 2008 at 2:43 AM, Mats Bengtsson
<[EMAIL PROTECTED]> wrote:
 


Jesse Engle wrote:

   


Is it possible to display roman numeral symbols in Lilypond?


 


Of course, just as you can typeset any other text.
Or, do you want something more automated that
treats them specifically as numbers with some special
musical meaning? If you tell more about what you want
to use it for, I'm sure you can get a more helpful answer.

/Mats

   


- Jesse


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--
=====
  Mats Bengtsson
  Signal Processing
  Signals, Sensors and Systems
  Royal Institute of Technology
  SE-100 44  STOCKHOLM
  Sweden
  Phone: (+46) 8 790 8463
 Fax:   (+46) 8 790 7260
  Email: [EMAIL PROTECTED]
  WWW: http://www.s3.kth.se/~mabe
=


   




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=====
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Signal Processing
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Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: String syntax, Was: substitution with \movement

[Mats Bengtsson]

Graham Percival wrote:


On Wed, 11 Jun 2008 23:57:00 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:

 


Graham Percival wrote:

   


Rewriting the parser for such a trivial thing would be a waste of
resources.  Just get used to typing #, just like {} or ,' or any
other piece of lilypond input.  The docs are supposed to use #""
all the time, to reinforce this point.


 


Do you really mean "all the time", i.e. even in situations like

\new Voice = "one" { ... } 
...

\new Lyrics \lyricsto "one" { ... }
   



All the time that it's getting passed as a scheme value, for
example
 \set instrumentName = #"cello"

Not for things like
 \markup { this "is some quoted text" }
 


Which brings us back to the original problem, namely the
inconsistency of the syntax. Even with my 11 years of
LilyPond experience, I have to think both once or twice
to figure out in what syntactical constructs a string is
a Scheme value and when it's not (I'm not even convinced
that it ever can be anything else than a Scheme value,
without checking in the source code). I know the issue
has been discussed before and I don't think it's a big
problem, but it's still an annoyance.

   /Mats

   /Mats


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Re: how do I control the size of the musical fonts?

[Mats Bengtsson]

Victor Eijkhout wrote:

Meaning, not lyrics, but the notes. Suppose I want to shrink a whole  
score by a few percent so that it takes one page less?


See section "Setting the staff size" in the reference manual.



Or in piano + solo instrument, it's customary to print the solo  
slightly smaller in the score. How do I do that?


Search for "staff size" in the LSR, http://lsr.dsi.unimi.it

  /Mats


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Re: Fw: définition d'un nouveau contexte

[Mats Bengtsson]

Germain G. Ivanoff-Trinadtzaty wrote:

Hello,
 
I've got two problems defining a new context \StaffSA, based on \Staff.


Your code below defines a new context type StaffSA which does not 
contain any
engravers and it's not based on the Staff context type (the description 
in the manual of
what \alias does is very simplified and it seems that you have 
misinterpreted it).


Unfortunately, there is no good explanation anywhere in the manual on 
how to make a
new context type based on an existing one. However, you can find some 
examples
in the mailing list archives, for example 
http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00837.html
I also recommend you to take a look at the file ly/engraver-init.ly, 
where all the

default contexts are defined. For example, if you look at the definition of
the PianoStaff context, you will see how to base a new context definition
on an already existing one.

What is it really that you try to obtain? What should the new context 
type do that

Staff doesn't?

  /Mats


I followed instruction from NR 6.2.5 Defining new contexts.
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Defining-new-contexts#Defining-new-contexts
 
With the definitions that follow :

1) I get two staves for one  \new \StaffSA
2) their instrumentName don't print
 
What's wrong ?
 
Thanks,

Germain
 
ps: btw, are de sharps (#) well suited ? (i mean : in the right place ?)
 
at : "test-newcontext.png"
 
%% Test de définition d'un nouveau contexte
 
\version "2.11.47"

\include "english.ly"
 
Global = { \key f \major }

NotesDiscantus = { a'4 a'1 }
NotesCantus =  { f'4 f'1 }
NotesFiller =  { c'4 c'1 }
NotesBassus =  { f4 f1 }
Words = \lyricmode { Ta __ daa }
 
%---%

StaffVoiceNames =  %% for Staff context
#(define-music-function  (parser location n-max-width s-one s-two)
 (number? string? string?)
  "Format and print voice names for one staff"
  #{
   \set Staff . instrumentName = \markup { \column {
\hcenter-in #$n-max-width $s-one
\hcenter-in #$n-max-width $s-two } }
  #})
%---%
StaffSAVoiceNames =  %% same as above, but for StaffSA context
#(define-music-function  (parser location n-max-width s-one s-two)
 (number? string? string?)
  "Format and print voice names for one staff"
  #{
   \set StaffSA . instrumentName = \markup { \column {
\hcenter-in #$n-max-width $s-one
\hcenter-in #$n-max-width $s-two } }
  #})
%---%
\layout % commun
{
 \context { \Score
\remove  Bar_number_engraver }
 \context { \ChoirStaff  %% si placé après déf. de StaffSA : idem
\consists Instrument_name_engraver
\override InstrumentName #'self-alignment-X = #LEFT
\accepts  StaffSA }
 \context { \Staff
\remove   Time_signature_engraver
\override InstrumentName #'self-alignment-X = #RIGHT }
 \context { \name  StaffSA
\type  "Engraver_group"
\alias Staff }
}
%---%
\score % 1
{
 \new ChoirStaff
 <<
  \set ChoirStaff . instrumentName = "N°1 Strange behaviour :"
  
  \new StaffSA

  <<
   \StaffSAVoiceNames #3 #"S." #"A."  %% ne donne rien
%   \StaffVoiceNames #3 #"S." #"A."%% ne marche pas non plus
   \clef "G" \Global
   \new Voice = "one" { \voiceOne \NotesDiscantus }
   \new Voice { \voiceTwo \NotesCantus }
  >>
 
  \new Lyrics = thewords { s }
 
  \new Staff

  <<
   \StaffVoiceNames #3 #"T." #"B." 
   \clef "F" \Global

   \new Voice { \voiceOne \NotesFiller }
   \new Voice { \voiceTwo \NotesBassus }
  >>
 \context Lyrics = thewords \lyricsto "one" { \Words }
 >>
 \layout { indent = 65\mm }
}



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Re: minimumVerticalExtent & minimum-Y-extent

[Mats Bengtsson]

Risto Vääräniemi wrote:


I don't usually use \addlyrics to but the same happens with \lyricmode, too.
  
\lyricmode has nothing to do with it. It just tells the part of Lilypond 
that interprets your
.ly file, that anything within the \lyricmode{...} should be treated 
syntactically as
lyrics and note as note names. What you probably mean is that happens 
with \lyricsto.

However, Trevor just showed you how to do it together with \lyricsto.

It would also be nice to be able to adjust the vertical lyrics spacing
(e.g. with minimum-Y-extent) separately for each system. That cannot
be done with minimum-Y-extent, though. Sometimes I've used dummy lyric
lines with \markup { "" } where I want to add some more space. That
cannot be used for fine tuning, though. :-)

Please read Trevor's answer ones more, he showed you exactly how to do this.

  /Mats


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Re: Beaming problem

[Mats Bengtsson]

There are a number of problems with the beaming that have existed for a 
long time in
LilyPond. However, you are lucky, since several of these have been fixed 
in the latest

development version, 2.11.49.

However, I'm confused that you see problems only in the score and not in 
the parts.
Perhaps the problem is something else. If you send a small but complete 
example
that illustrates the problem, I'm sure that you can get help from the 
mailing list.


   /Mats

Jayaratna wrote:

Dear subscribers,

Typing this code in a 3/8 measure (version 2.10.33):

 e8 c16 c' c c

I get a very strange strange autobeam: the second c second beam-line is not
connected the following ones.
The same is happening on these codes in different parts:

f8 c16 d c d

In this one I get the separation between the last bes and the c8

c16 bes a bes c8

I've tried some \set Score.measureLength = #(ly:make-moment 3 8) or \set
Score.beatLength = #(ly:make-moment 3 8) but no results. Note that this
strange thing is happening only in the score, and not in the parts.


Thank you for your help,
Andrea
  


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Re: minimumVerticalExtent & minimum-Y-extent

[Mats Bengtsson]

Risto Vääräniemi wrote:

2008/6/13 Mats Bengtsson :

  

\lyricmode has nothing to do with it. It just tells the part of Lilypond
that interprets your .ly file, that anything within the \lyricmode{...}
should be treated syntactically as lyrics and note as note names.
What you probably mean is that happens with \lyricsto.
However, Trevor just showed you how to do it together with \lyricsto.



I used a wrong term, sorry. However It would be nice to be able to
make such a setting inside the \lyricmode (and the \lyricsto would
interpret it correctly). As I said earlier I can use it but only if
the music and lyrics start at the beginning of the piece.
  
Let me try to explain what happens. Properties like 
minimumVerticalExtent are only
read when an object is created.  In this case, the object in question is 
the "VerticalAxisGroup",
which is responsible for reserving space for the lyric line. This object 
is created as soon as
you create a Lyrics context, so any property setting that should have an 
influence has to happen
exactly at the "same time" as the Lyrics context is created, not later. 
If you do

\new Lyrics { \lyricsto "somevoice" { \override ... }},
then the \override will not take place until just before the first 
syllable. This means that if your
"somevoice" music starts with a rest, then the \override will happen 
after the Lyrics context

was created, i.e. too late to be noticed. If you instead use
\new Lyrics { \override ...  \lyricsto "somevoice" { ... }}
or (as Trevor proposed)
\new Lyrics \with { \override ... } { \lyricsto "somevoice" { ... }}
then the \override will happen early enough to have the desired effect.
  

Please read Trevor's answer ones more, he showed you exactly how to do this.



Yes, he did I must admit. 
Sorry, it was me who didn't read carefully enough. What I had in mind 
was different spacing
for different lines of lyrics, whereas you talked about different 
systems of the same line of lyrics.
An alternative of what you originally proposed, which allows for some 
more fine-tuning, is
shown in 
http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00454.html


There are also more advanced possibilities available. I hope you have 
read all the subsections

related to vertical spacing, in the manual.

/Mats


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Re: F7 chord appearing as E#7 when I transpose

[Mats Bengtsson]

% First "A" Section  (melody)
% 

\repeat volta 2 {

a'4g e d  |
e1|
a4g e4. c8|
d8 e8  aes,2. | 
e'4 d c a |

c1|
\break


a'4g e d  |
e1|
a4g e4. c8|
d8 e8  aes,2. |
e'4d c a  |
c1|
\break

% 
% First "B" Section  (melody)
% 



b8 [b b b] ~ b b4 b8 |
b8 b4 b8 b8 b4 b8|
\break
b8 [b8 b8] b'8 ~ b4 a8 b8  |
gis1  |


c,8 [c8 c8 c8] ~ c8 c4 c8   |
\break

c8 c4 c8 c8 c4 c8 |
c8 [c8 c8] c'8 ~ c4 bes8 c8 |
a2  aes2  |
\break
 


% 
% Second "A" Section (melody) 
% 


a4g e d   |
e1|
a4g e4. c8|
d8 e8  aes,2. | 
e'4 d c a |

c1|
\break

}

% 
% Ending   (melody)
% 



gis8 a c e a b gis ais |
g1 |

}


harmonies = \chordmode {

% 
% First "A" Section  (chords)
% 
  c2:6  a2:m7   |
  d2:m7 g2:7|
  c2:6  a2:m7   |
  bes1:5-.7 | 
  d2:m7 g2:7|

  c2:6  g2:7sus4|
  
  c2:6  a2:m7   |

  d2:m7 g2:7|
  c2:6  a2:m7   |
  bes1:5-.7 | 
  d2:m7 g2:7|

  c1:6  |
  
% 

% First "B" Section   (chords)
% 
  
  fis2:m7 b2:7 |

  e2:maj7 cis2:m7  |
  fis2:m7 b2:7 |
  e1:maj7   |
  g2:m7  c2:7   |
  f2:maj7d2:m7  |
  g2:m7  c2:7   |
  f2:maj7g2:5-.7.9- |
  
% 

% Second "A" Section   (chords)
%   
  
  c2:6  a2:m7   |

  d2:m7 g2:7|
  c2:6  a2:m7   |
  bes1:5-.7 | 
  d2:m7 g2:7|

  c1:6  |
  
% 

% Ending   (chords)
%   


  d2:7 ~ d4:7  des4:7   |  c1:6 |
  \bar "||"
}
=



..(below is contents of file template_boilerplate_AFTER.ly )...
=

\score {
   <<
   \new ChordNames {
 \set chordChanges = ##t
 \transposeHarmonies
   }
   
   \new Voice = "melody" {

 \transposeMelody
   }
   \new Lyrics \lyricsto "melody" \theLyricsOne

   >>

   \layout{
 \context {
   \Score \override SpacingSpanner #'base-shortest-duration = 
#(ly:make-moment 1 16)
 }
   }
}


\score { 
   <<

  \new ChordNames {
 \set chordChanges = ##t
 \transposeHarmonies
  }
   \new Staff \transposeMelody
   >>

   \midi{
 \context {
   \Score tempoWholesPerMinute = #(ly:make-moment 85 4) % set midi tempo
 }
   }
}

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Re: substitution for stem length

[Mats Bengtsson]

Try

Langhals = #(define-music-function (parser location length) (number?)
  #{
\once
\override Stem #'length = $length
   
  #})



   /Mats


Stefan Thomas wrote:

Dear Lilypond-users,
I would like to make a varibable substitution for stems over two systems.
Before I used (thanks to Wilbert Berendsen)
noFlag = \override Stem #'flag-style = #'no-flag

stemExtend = { \noFlag \autoBeamOff
\override TupletNumber #'transparent = ##t
\override TupletBracket #'bracket-visibility = ##f
\override Stem #'length = #16
\override Stem #'cross-staff = ##t
  
}

Unfortanetely the stem length of 16 isn't always good.
Now I would like to type something like " langhals #16 " c4
I tried it, wothout success, with:
Langhals = #(define-music-function (parser location padding) (number?)
   #{
 \once
 \override Stem #'length = #$length
 
   #})



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   Fax:   (+46) 8 790 7260
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Re: Divisi and Unison

[Mats Bengtsson]

Peter Kaplan wrote:

Francisco Vila  gmail.com> writes:

  

Here goes another (uglier) starting point:

arrows = \markup { \postscript #psarrows }

{ c'1-\arrows }

% end




Thanks, Francisco!  Unfortunately when I try to implement this code, lilypond
fails to recognize \postscript.  I'm in v.2.10.33-1, so I don't think it's that
I'm out of date.  Help?
  
Are you really sure that you use version 2.10.33? Francisco's code works 
excellently

here when I try it with version 2.10.33.

   /Mats


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Re: Version number from convert-ly

[Mats Bengtsson]

Please read the first paragraph of section 3.4.1 at 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-program/Updating-files-with-convert_002dly#Updating-files-with-convert_002dly


  /Mats

Palmer, Ralph wrote:

Hi -

I'm running LP 2.11.49 under WinXP SP2.

I was running 2.11.48, and submitted an updated file to Graham for the
GDP. Graham said one of my snippets was broken and could I check it
under 2.11.49? So, I downloaded and installed 2.11.49 and my file looked
fine to me. Then I said to myself, woops - maybe the problem only occurs
if I convert the file to 2.11.49. I started running convert-ly on my
files, and the version number does not change from 48 to 49. In fact, if
I upgrade an .ly file from 2.10.xx to 2.11.49, I still get \version
"2.11.48". Is this a bug? The name of the install file is:
lilypond-2.11.49-1.mingw.exe.

Thanks for your help,

Ralph

+
Ralph Palmer, CEM
Energy/Administrative Coordinator
Keene State College
Keene, NH 03435-2502
Phone: 603-358-2230
Cell: 603-209-2903
Fax: 603-358-2456
[EMAIL PROTECTED]




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Re: Manual start-repeat (GDP)

[Mats Bengtsson]

Graham Percival wrote:


On Wed, 18 Jun 2008 17:26:26 +0100
"Neil Puttock" <[EMAIL PROTECTED]> wrote:

 


Hi Ralph,

2008/6/18 Palmer, Ralph <[EMAIL PROTECTED]>:
   


I've been working on Repeats for the GDP, and found that
\set Score.repeatCommands = #'( start-repeat )
doesn't work if it's at the beginning of a score. It looks like it
 


I don't think it is. In this case LilyPond follows the standard
typesetting rules for repeats.

Of course, you can force a repeat by using \bar "||:", possibly with
an override for 'break-align-orders depending on whether you want the
repeat positioned before or after the time signature.
   



Ralph,

In this case, it's probably not worth investigating further.
Let's just remove the |: at the beginning of a piece and state
that "according to standard typsetting rules, by default repeat
signs are not printed at the beginning of a bar".
 


You mean "at the beginning of the piece".

   /Mats


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Re: syntax question

[Mats Bengtsson]

A \score{...} block is a syntactical construct, which internally creates 
a Score context (among others).
It is also possible to explicitly instantiate a Score context, but I 
don't really see the added value of
doing it (even though I seem to recall that there was some specific 
reason to introduce this possibility).


   /Mats

James E. Bailey wrote:
I don't quite understand what the difference between score and Score 
are. I'm sure this is discussed in some documentation somewhere, but I 
just don't know where to look. Can someone point me in the right 
direction?



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Re: syntax question

[Mats Bengtsson]

V!ctor Adán wrote:
Not sure why the docs say "You cannot explicitly instantiate a Score 
context..." though. What does this mean?


This used to be true, but was changed in some previous release. 
Probably, this paragraph of the documentation

hasn't been updated since then. Clearly, the sentence should be removed.

  /Mats


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Re: GDP: first draft of NR 1.5 Simultaneous

[Mats Bengtsson]

A few comments:

- "Parallel notes" only talks about parallel notes within a single Voice 
context. Where in the NR
 would one find a general description of the use of <<...>> to put 
things in parallel?
 It's certainly described in the LM, but should be somewhere also in 
the NR for completeness.
 If it is, then the question is if the current "Parallel notes" gets 
redundant (it's just a special case).


- Similarly, in 1.5.2, shouldn't there be a description of the <<{...} 
\\ {...} >> construct? Also, the \voiceOne ... \voiceFour macros are 
just listed but not described.


- Do we have a bug report for the failing collision resolution in the 
second measure of the

 examples in "Collision resolution"?

- The description of the snippet "Additional voices to avoid collisions" 
could be clarified to say
 "If more than four parallel voices are needed, additional voices are 
added by ..."


- Typo in "Voice styles": "Lerning Manual" -> "Learning Manual"

- What's really the purpose of the predefined voice styles? I can 
understand that they are
 useful for some illustrations in the manual, and probably were 
introduced for that reason, but
 I don't really see that these arbitrarily defined styles have much 
interest for other users, except

 possibly as examples of how such styles can be defined by yourself.
 At least, it should be clarified that they are arbitrarily defined. 
Since there are four predefined

 styles, shouldn't the example show all four of them?

- Is it because of a limitation in the abilities of the \parallelMusic 
function that the example in
 "Writing music in parallel" doesn't include all the notes that J.S. 
Bach wrote in these measures?

 (Perhaps it's just to avoid making the example looking too complicated).

   /Mats


Graham Percival wrote:

I'm proud to announce the first draft of NR 1.5 Simultaneous!
This is the third section of the NR to reach this stage; many
thanks to Francisco for his hard work on this section.

Please proofread this section carefully.  Let us know about any
omissions or anything that's unclear.  If you like working from
paper, print it out and proofread it at your leisure -- sitting on
the couch, waiting for a bus, or during orchestra rehearsal if
you're a brass player.

In addition, please look at the Snippet List (SL) for
Simultaneous.  If you know of any snippets that you think should
be on this list but aren't, let us know!

As always, GDP website is here:
http://web.uvic.ca/~gperciva/

go to "output" -> NR.  You can view it in HTML or PDF.

Cheers,
- Graham


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Re: Repeats GDP Break_Align_Order

[Mats Bengtsson]

Note that the example is simplified by using (make-vector 3 ), which 
means that the same
settings are used both at the end of line, beginning of line and middle 
of line, whereas the
default settings differ somewhat in these three cases. In the doc, I 
would therefore recommend
to also refer to the IR for the BreakAlignment grob, which lists the 
default value:

http://kainhofer.com/~lilypond/texi2html-out/Documentation/user/lilypond-internals/BreakAlignment.html#BreakAlignment

  /Mats

Reinhold Kainhofer wrote:

Am Mittwoch, 25. Juni 2008 schrieb Palmer, Ralph:
  

Greetings -

I'm running LilyPond 2.11.49 under Windows XP SP2.

I'm working (still) on Repeats for the GDP. I'm trying to get a begin
(open) repeat sign at the start of a piece. The only way I've been able
to do it so far is with a
\bar "|:"
attached to a skip. It was suggested that I use the
Score.breakAlignOrder property. I checked the thread from around 14
March 2003, and came up with



Ah, that's the syntax for an old version. Meanwhile the syntax has changed:

  

\property Score.breakAlignOrder = #'(
instrument-name


[...]
  

custos
)



The new way is:
  \once \override Score.BreakAlignment #'break-align-orders =
  #(make-vector 3 '(instrument-name
left-edge
ambitus
span-bar
breathing-sign
clef
key-signature
time-signature
staff-bar
custos
span-bar))

Full example is attached.

Can you please submit such an example also to the LSR 
(https://lsr.dsi.unimi.it/list.php?type=snippet)...


  

I've tried searching the NR, IR, AU, and SL for breakAlign, with no
luck.

Can anyone point out the error of my ways?



See the break-align-orders property in the IR (there's even an example from 
where I copied the above code):

http://kainhofer.com/~lilypond/texi2html-out/Documentation/user/lilypond-internals/User-backend-properties.html

Cheers,
Reinhold
  



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Re: acciaccatura grace note coming right before an end volta repeat bracket

[Mats Bengtsson]

Just insert the slur the same way as if the acciaccatura note was an 
ordinary note:


\relative c'{
\afterGrace c( {  \once \override Stem #'stroke-style = #"grace" d8) }
}

   /Mats

Anthony wrote:

I've typesetting some music from a book I have (Since trying to keep a
book open on my music rest is a losing proposition) and have run into
a slight problem.  This piece has a long volta repeat section with a
grace note appearing right before the end of the volta part.  The note
appears as a d8 along with the slur line beneath it and running up
into the volta bar.

From what I've found so far I may have to use Stem #'stroke-style =
#"grace" with \aftergrace but how could I draw the slur line across
the volta bracket like the standard acciccatura would have?

Any help would be greatly appreciated.

Thanks in advance!

Anthony


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Re: acciaccatura grace note coming right before an end volta repeat bracket

[Mats Bengtsson]

Anthony wrote:

On Wed, Jun 25, 2008 at 9:09 AM, Mats Bengtsson
<[EMAIL PROTECTED]> wrote:
  

Just insert the slur the same way as if the acciaccatura note was an
ordinary note:

\relative c'{
\afterGrace c( {  \once \override Stem #'stroke-style = #"grace" d8) }
}

  /Mats




Thanks Matt, but that's not what I wanted.  The slur starts on the
grace note and heads up into the end volta bar line.  The whole thing
sits right at a line break in the score I have.  I suppose I may have
to start the slur on the grace note and end it on the next line of the
score and use the callback function to cause it not to print on the
2nd line or something similar to that.
  
I'll try to learn to read sooner or later. An easy workaround is to draw 
the slur to an

invisible grace note:

\afterGrace c {  \once \override Stem #'stroke-style = #"grace" d8( \hideNotes 
e) \unHideNotes }

An alternative is to use \laissezVibrer.

   /Mats


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Re: moving objects closer to the staff

[Mats Bengtsson]

Take a look at the internals reference for Fingering and read about the 
avoid-slur property.


  /Mats

James E. Bailey wrote:
I'm trying to figure out how to move fingerings so that they are 
inside a slur. Currently, I get notes, then the slur, then the 
fingerings on top of the slur, I'd like to have the notes, then the 
fingerings, then the slur.




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Re: chords

[Mats Bengtsson]

LilyPond does not consider the chords to be part of the Staff,
rather it's treated as a completely separate context (as it's called
in LilyPond). This may not agree with your intuition.

If you give the chords a separate identifier and let your score consist
of
<<
 \myChords
 \myMelodyStaff
>>
then, the things will appear where you expect them. See the full example
below:

% Created on Fri Jun 27 20:05:12 CEST 2008
\version "2.11.49"

\header {
   title = "gitaar"
   composer = "d"
}


myChords = \chords
   {
   c1:m7 f2:7 c2
   }


staffJazzGuitar = \new Staff  {
   <<
   \time 4/4
   \set Staff.instrumentName="Jazz Guitar"
   \set Staff.midiInstrument="electric guitar (jazz)"
   \transposition c,
   \key c \major
   \clef treble
  
   \relative c'' {
% Type notes here
a b c d e f a g dis d d, d d d d 
   \bar "|."

   }
  
   >>

}



\score {
   <<
   \myChords
   \staffJazzGuitar
   >>
  
   \midi {

   }

   \layout  {
   }
}


I strongly recommend you to read the Learning Manual for version 2.11.
Even if you read the Tutorial of some earlier version before, this part
of the documentation has been significantly updated and improved and
should hopefully provide a more thorough answer to your question.

   /Mats

rosea wrote:

I want to put chords above a melody... but how? In my doc now the 
chords are unther/ below the notation bar:


http://paste.ubuntu.com/23359/

I want to have it like here,>> pop music:

http://lilypond.org/web/switch/howto

~d




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Re: \repeat with upbeat (partial) and alternatives

[Mats Bengtsson]

E. Weehaeli wrote:

it is only after a long search that I found an easy way to repeat a part of a 
melody 
- with an upbeat 
- ending before the end of a measure 
- having different durations in the alternatives

- without producing warnings in the log

isn't this a third way that should/could be added to the examples in the manual 
[NR 1.4.1.1 Normal repeats: "Repeats with upbeats can be entered in two 
ways"]

or ... - did I miss something?

\version "2.11.49"
{ 
\repeat volta 2 { \partial 8 c'8 | c'2.}

\alternative {{ f'8 } { \partial 4 f'4 | }}
d'1 |
}
 


What you propose is similar to one of the solutions proposed in
http://code.google.com/p/lilypond/issues/detail?id=355&q=alternative

In my experience, it's fairly uncommon in printed music to have this kind of
different durations in the two alternatives, so I don't think that it's 
common enough to deserve a specific example in the manual. You may want 
to submit it to the LSR, though.


  /Mats


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Re: slash

[Mats Bengtsson]

I think I have seen some clever solution on the mailing list,
that redefined the function that draws the stem, in order to
automatically get it correctly placed. I don't remember if it
was a slash or a cross or something else that was placed on
the stem, though. Try to search the archives and perhaps LSR.

  /Mats

luis jure wrote:


on 2008-07-07 at 02:23 luis jure wrote:

 


i'm trying to draw a slash across the stem of the first of a group of
beamed notes, 
   



(answering myself) i guess i can use a postscript markup, but i still
would like to know if there is a lilypond function to achieve this.


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Re: nopc

[Mats Bengtsson]

James E. Bailey wrote:

I actually needed to look into the documentation to turn off 
point-and- click 'cause I accidentally deleted my global file that has 
it, and I  see various options.


in section 6.2.1,
#(define (nopc)
  (ly:set-option 'point-and-click #f))

...
#(nopc)
{ c'4 }

and
in 6.1.5
noPointAndClick =
#(define-music-function (parser location) ()
   (ly:set-option 'point-and-click #f)
   (make-music 'SequentialMusic 'void #t))
...
\noPointAndClick   % disable point and click

and

in 3.1.3
#(ly:set-option 'point-and-click #f)

The last one is apparently deprecated.


Why? The first two are only interesting if you have your own standard 
include file with utility functions. I guess that most users will copy 
paste the code from the manual or from some previous file and in that 
case, the third option is easiest to use, since it's only a single line.
Considering the recent trend to add predefined commands to LilyPond, I'm 
surprised that noone has proposed to add the \noPointAndClick function. 
I prefer that one to the #(nopc) since it avoids the Scheme syntax for 
the end user.


  /Mats

My question is which should I  start using, or does it matter 'cause 
they all seem to be to be  different ways of saying the same thing?



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Re: Staff spacing problem with piano centered dynamics

[Mats Bengtsson]

What LilyPond version do you use? Don't expect an example written for
version 2.5 to provide optimal layout in a later version, especially
not if it uses such  strange tricks as this particular example. To find
a relevant example to use as a starting point, look at the "Templates"
section of the manual for your version of LilyPond. Note also that the
vertical alignment handling has been significantly revised and improved
in the latest development version, 2.11.x, which by now is at least as
bug free as the "stable" 2.10.33 version.

   /Mats

Quoting jimmy2 <[EMAIL PROTECTED]>:



After months of work, I just finished setting a long piece for piano, using
the example
LES NÉRÉIDES given in http://lilypond.org/doc/v2.5/examples.html as a
template.
This uses dynamics between the two staves,

\score {
  \new PianoStaff <<
\new Staff = "upper" \upper
\new Dynamics = "dynamics" \dynamics
\new Staff = "lower" <<
  \clef bass
  \lower
>>...

The problem is that whenever dynamics are present, they tend to create much
more extra space between the staves than is necessary, leading to very
nonuniform looking
systems (see  http://www.nabble.com/file/p18454033/example.jpg example.jpg
).  I have tried everything  I could find in the documentation and on this
forum which seemed to be relevant, and nothing has had any effect on this
unwanted extra vertical space.   I will greatly appreciate any advice!
--Jim
--
View this message in context:
http://www.nabble.com/Staff-spacing-problem-with-piano-centered-dynamics-tp18454033p18454033.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.



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Re: ubuntu package

[Mats Bengtsson]

Quoting "Paul Scott" <[EMAIL PROTECTED]>:


notesetter wrote:

Is there an Ubuntu package for LilyPond? Suppose I'm using LilyPond 2.10.33
and want to upgrade to the latest (development) branch. Is there a "software
source" I can type in and then have the latest version downloaded and
installed via synaptic?


The GUB's on this page are trivial to install on any LInux system:
http://lilypond.org/web/install/#2.11


Paul, don't forget that the acronym GUB is LilyPond specific and  
doesn't make sense to most readers of the mailing list. What you mean  
is that the installer for "any X86" available at  
http://lilypond.org/web/install/#2.11 can be used.


/Mats


This message was sent using IMP, the Internet Messaging Program.



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Re: pmx2ly ?

[Mats Bengtsson]

stefanozanobini wrote:

It's a pity.
I had already thought, that I could create the .ly file quite fast
with the .pmx file, but I don't understand why pmx2ly is not more
avaible. It would be useful.
  
As with any open source project, the problem is maintenance. I guess 
that nobody was
interested in maintaining pmx2ly, and when it became too outdated, it 
was removed.


Perhaps you would be interested in maintaining the program. If you know 
some

basics about programming, I guess it's probably not too difficult to do.

   /Mats

However I thank you, david


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Re: Bar numbers collide with StaffGroup bracket

[Mats Bengtsson]

Note also that this collision problem is solved automatically if you 
upgrade to the latest

development version 2.11.x.

  /Mats

Trevor Daniels wrote:

You've probably spotted by now that the correct
syntax is

\context { \Score \override BarNumber #'padding = #3 }

Score with a capital S is the name of the context.

Trevor

- Original Message - From: "Frederick Dennis" 
<[EMAIL PROTECTED]>

To: 
Sent: Friday, August 01, 2008 2:55 PM
Subject: Bar numbers collide with StaffGroup bracket



Dear All,
\version "2.10.33"
I've just noticed that the bar numbers are colliding with the StaffGroup
bracket.
I've put
\context {\score \override BarNumber #'padding = #3  }
in the layout block but nothing happens.
I've also put it at the top and in various other places.
Thank you for your attention.




 





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Re: woodwind harmonics (GDP)

[Mats Bengtsson]

The \flageolet articulation is intended for this purpose. At least in
string music, the resulting circle has the size and layout that I
recognize from string music. I haven't seen any woodwind parts with
harmonics but would be surprised if the circle really was that small
that your example gives. It should be visible at one meter distance,
right? If you want the same symbol as \harmonic but with smaller size,
you can rather use
c^\markup{\small \musicglyph #"scripts.flageolet" }

/Mats

Andrew Hawryluk wrote:
> I'm trying to show how one could specify a harmonic for a woodwind
> instrument (NR 2.6.1.1).
> This looks correct when printed, but it's a bit ugly. Any suggestions?
>
> Note that usually the lower (fingered) pitch is not written, but the
> small circle is always needed.
>
> {
>   2^\markup \fontsize #-8 " ○"
>   2^\markup \fontsize #-8 " ○"
>   1^\markup \fontsize #-8 "  ○"
> }
>
> I wondered if the \flageolet articulation was intended for this
> purpose, but it much larger than the marks I have seen in print.
>
> Andrew
>
>
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Re: Syntax highlighting in LilyPad?

[Mats Bengtsson]

Please always keep the discussion on the mailing list 
lilypond-user@gnu.org,
for the benefit of yourself since you get access to the collected 
expertise on the
list and for the benefit of others who experience similar problems. I 
have never

used LilyPond on a Mac. I hope you have read section
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-program/Text-editor-support#Text-editor-support
which describes several editors with good LilyPond support. You can find 
even more

examples if you search the mailing list archives.

  /Mats


Oliver Popp wrote:

Hey,

have you found a way for syntax highlighting in Lilypad?
I suppose you're using a mac and you prefer the Lilypad app instead of 
the Lilypond editor. Till now I could not find a nice way for editing 
in Lilypond as you have it in TeXShop for example.
I just tried to integrate Lilypond in TeXShop (which should be 
possible), however it didn't work out yet.


Do you have any ideas?

Many greets from Germany,

Oliver


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Re: Lilypond Style Guide

[Mats Bengtsson]

Jordan Eldredge wrote:

I am currently working on wikilily.org and realized that one thing
that could be very helpful when collaborating on Lilypond code, would
be a style guide. My question for all of you is: has any other project
drafted a style guide for Lilypond code?

The main things I imagine it wold cover would be:

How many spaces should an indent be?
When should indentation be used?
Where should line breaks be used?
Where should spaces be used?
  
All these are things that a good text editor with LilyPond support, 
could handle more or less automatically.
For example, the LilyPond mode in Emacs handles the indentation 
automatically. I would imagine that lilypondtool does the same. Such 
editor support provides a de facto style guide, which often is much more 
useful than a style guide in textual form. Since it's a known fact that 
different users have different favorite editors and we can never expect 
to get an agreement on a single editor that everybody will use, a good 
first step would be to make sure that the existing LilyPond modes for 
different text editors follow the same style guide.

Another thing it might include would be:

A general guide for structuring the code.
  
I doubt that you can find rules that both will make sense to an 
experienced programmer and that a musician without any programming 
experience will be able to understand and adopt, but feel free to make 
an attempt.


   /Mats


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Re: glissandi and line breaks

[Mats Bengtsson]

I would perhaps not classify this as a pure bug, but definitely as a 
limitation that deserves a feature request in the bug database.


As far as I can see, the same vertical position is used the for the left 
end of the part of the glissando before the line break as for the part 
after the line break, and similarly for the right end of the glissando.


It should be possible to do some more or less advanced hacks in your 
LilyPond file to get a better layout, but I didn't have the time to find 
a solution right now.


   /Mats

luis jure wrote:

dear list,

i'm trying to resolve a tricky passage involving double stop glissandi
spanning several measures. i found a solution involving three different
voices. the difficult part is that due to music spacing, i need a line
break in middle of the glissando. this works well with parallel
glissandi (top staff in the attached example), but it doesn't look so
good with divergent glissandi (lower staff). it seems the glissando
line has no memory where it was before the line break. is there a way
to improve this? should i consider this a sort of "bug"? here's my
(dirty) code (a very simplified example of the real musical situation):



\version "2.11.50"

global = {
\time 4/4
}


ViolinI = \new Voice \with {
\remove Forbid_line_break_engraver
 }  {
\time 4/4
\relative c' {
% c 1
c'8 c c c c c c c
c8 c c c c c c c
c8 c c c c c
<<
{
\stemDown
4
% c 2
\override NoteHead #'transparent = ##t d, d d d \break
% c 3
d \revert NoteHead #'transparent 4
	} 



\new Voice \with {
\remove Forbid_line_break_engraver }
{
\override Stem #'stencil = ##f
\override NoteHead #'transparent = ##t
\override Glissando #'breakable = ##t
g='''4*6\glissando c,4
}


\new Voice \with {
\remove Forbid_line_break_engraver }
{
\override Stem #'stencil = ##f
\override NoteHead #'transparent = ##t
\override Glissando #'breakable = ##t
a=''4*6\glissando d,4
}
  
	c8 c c c 
	c8 c c c c c c c

c8 c c c c c c c
c8 c c c c c c c

}
}


ViolinII = \new Voice \with {
\remove Forbid_line_break_engraver
 }  {
\time 4/4
\relative c' {
% c 1
c'8 c c c c c c c
c8 c c c c c c c
	c8 c c c c 
<<

{
\stemDown
g='''8 \once \override NoteHead #'transparent = ##t d, g='''8
% c 2
\override NoteHead #'transparent = ##t d,4 d d d
% c 3
d \revert NoteHead #'transparent 4
	} 



\new Voice \with {
\remove Forbid_line_break_engraver }
{
\override Stem #'stencil = ##f
\override NoteHead #'transparent = ##t
\override Glissando #'breakable = ##t
g='''8*13\glissando d,4
}


\new Voice \with {
\remove Forbid_line_break_engraver }
{
s4
\override Stem #'stencil = ##f
\override NoteHead #'transparent = ##t
\override Glissando #'breakable = ##t
g='''8*11\glissando c,4
}
  
	c,8 c c c 
	c8 c c c c c c c

c8 c c c c c c c
c8 c c c c c c c

}
}


\score {
  \new StaffGroup 
  <<

\new Staff = "violin1" { << \global \ViolinI >> }
\new Staff = "violin2" { << \global \ViolinII >> }
  >>
  \layout { }
}



  


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Re: combined time signature

[Mats Bengtsson]

James E. Bailey wrote:
Just out of curiousity, is there way to do either the clef or the time 
signature for real?

Not that I know of!

  /Mats

\version "2.11.52"
{
   \override Staff.Clef #'stencil = #ly:text-interface::print
   \override Staff.Clef #'text = \markup {\musicglyph #"clefs.G" 
\hspace #-1.7 \musicglyph #"clefs.G"}

   \override Staff.TimeSignature #'stencil = #ly:text-interface::print
   \override Staff.TimeSignature #'text = \markup { \musicglyph 
#"timesig.neomensural64" \hspace #-1.0 \lower #1.0 { \musicglyph 
#"three" } }

   \time 6/4
   R1.
}



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Re: lyrics following split voices

[Mats Bengtsson]

Paul Scott wrote:


What are workable explicit names for either the lyrics or the voices to
connect the voices in the parallel part to some lyrics?
  
I'm surprised that nobody answered exactly this question. If you name 
your main voice "1", then the upper voice of the <<{...} \\ {...} >> 
construct will stay the same Voice context as the single voice. Note, 
though that the <<{...} \\ {...} >> construct will add property settings 
equivalent to the \voiceOne command, so you have to explicitly insert a 
\oneVoice afterwards to revert to the default settings:


<<
\new Voice = "1" \relative c'' {
 c d e f | << { g f e d } \\ d1 >> \oneVoice c4 g c e c1  
}

\new Lyrics \lyricsto "1" {
 This goes with the top voice all the way and back a -- gain
}
>>


   /Mats


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Re: GDP: NR 1.5 Simultaneous, second draft

[Mats Bengtsson]

Karl Hammar wrote:


Ex1: << { \A } \\ { \B } >>

creates TWO new voices, which get you into problems when doing \lyricsto,
where 


Ex2: << { \voiceOne \a } \new Voice { \voiceTwo \b } >> \oneVoice

only creates ONE new voice, \a "belongs" to the same voice as the surronding 
music.


Ex1 is a dead end, nice for simple notes, everewhere else you have to do 
Ex2.
  
Unless you name give the name "1" to the single voice, see my reply to 
the "lyrics following split voices" thread.


   /Mats


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Re: Shouldn't articulation 'stick' to note-heads?

[Mats Bengtsson]

James E. Bailey wrote:


Am 17.07.2008 um 07:10 schrieb George_:



hi guys

I was wondering if there were a way to make articulation 'stick' to a
notehead, no matter where it is? I use 2.11.49 on XP, and I have a 
two-part

melody, the lower voice is to be played staccato, like so:

http://www.nabble.com/file/p18501666/1.jpg

Except in the lily output, the staccato dots are (as shown) on the 
stem side

of the note-head. Is there a way to make these articulations go over the
notes? Or is this just a bug?

Thanks

George
--
View this message in context: 
http://www.nabble.com/Shouldn%27t-articulation-%27stick%27-to-note-heads--tp18501666p18501666.html 


Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Articulations#Articulations 

shows how to force above or below notehead articulations. As far as I 
know, that section hasn't been rewritten yet for the 2.11 docs.
See also 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Direction-and-placement#Direction-and-placement 


which shows that you can do a single setting
\override Script #'direction = #UP
to force all the following articulations to stay above the note heads.

  /Mats


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Re: GDP: NR 1.3 Expressive marks, second draft

[Mats Bengtsson]

Hi,

Unfortunately, I haven't had the time to be very active in the review of 
the GDP drafts, but I happened

to look into "New dynamic marks" of 1.3.1 and have some comments:

- The markup command for \roundf is unnecessarily complicated and the 
result looks bad. The \center-align markup command is intended to 
produce a column of (internally) center aligned markups. If you only 
have a single line markup, then you should use \hcenter instead. Also, 
the spacing between the parenthesis and the f is probably unintended. 
Finally, there are some redundant braces (that you may want to keep for 
readability). I would propose to instead use

roundf = \markup { \hcenter \concat { \bold { \italic ( }
 \dynamic f \bold { \italic ) } } }
or (without the redundant braces)
roundf = \markup { \hcenter \concat { \bold \italic (
 \dynamic f \bold \italic ) } }


- The main reason to use make-dynamic-script instead of a pure \markup 
is not to get the horizontal alignment correct with respect to the note 
head, but to get correct vertical positioning when you have both an 
absolute dynamic and a hairpin starting/ending on the same note, for 
example. Compare the following two examples to see the difference:

roundf = \markup { \hcenter \concat { \normal-text \bold \italic (
 \dynamic f \normal-text \bold \italic ) } }
boxf = \markup { \bracket { \dynamic f } }
roundfdyn = #(make-dynamic-script roundf)
boxfdyn = #(make-dynamic-script boxf)
\relative c' {
 c4_\roundf \< d e f
 g,1_\boxf \!
 c4_\roundfdyn \< d e f
 g,1_\boxf \!
}

- As illustrated in the example above, it's not absolutely necessary to 
learn the Scheme syntax of the markup commands to use 
make-dynamic-script. A simpler solution is to first define a normal 
markup, and then use that as the argument to make-dynamic-script.


   /Mats

Patrick McCarty wrote:

I would like to announce the second draft of NR 1.3 Expressive marks.
Please proofread this section, and let me know if you find any
omissions or errors.  Suggestions for additional snippets to include
(or replace) are greatly appreciated as well.

http://web.uvic.ca/~gperciva/

Thanks,
Patrick


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Re: markup dynamics wrong size

[Mats Bengtsson]

The best solution for you is probably to use #(make-dynamic-script ... ) 
to define all your dynamic commands, see subsection "New dynamics". 
Then, they will behave exactly as all the other dynamics.
I haven't investigated how much tweaks would be involved to make 
ordinary \markup commands work better in the centered dynamics context, 
but you will certainly always suffer from the same lack of vertical 
alignment that I just pointed out in an email with subject line "Re: 
GDP: NR 1.3 Expressive marks, second draft" on the mailing list. There, 
you can also find hints on how to use #(make-dynamic-script ) without 
having to learn Scheme syntax for markup commands.


   /Mats

Eric Flesher wrote:

Wondering if anyone has experienced the following problem:

When creating new centered dynamics in a piano staff in ver. 2.11.55 
(and several earlier versions) using \markup, three things happen:


1. the markup text created is significantly larger than the normal 
dynamic size

2. the text does not align with other dynamic markings
3. the presence of the markup text forces additional space between the 
staves







The dynamic marking concerned is contained in a variable thus:
pocoF = \markup  { \italic poco \dynamic f }


and is deployed locally as follows:
\times 4/5 { s16 s\mp s s-\pocoF s\> } \times 4/5 { s8\! s\mp s16 } s4

(I would include more code, but the file is extremely long.)

Any idea what might be wrong here, and how this could be fixed?

Thanks,
EF



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Re: Still confused about context vs. new

[Mats Bengtsson]

I personally have *never* needed to use \new.  


\context implicitly instantiates a new context if the
one named doesn't yet exist, so \new is redundant, *except* where you
want multiple distinct contexts with the same name, or you're using
unnamed contexts (which, internally, is the same thing)

Distinct objects should (as a general rule) be named distinctly, so
that leaves the only place to use \new: when you want unnamed contexts.
  
Yes, it's certainly possible to use \new vs. \context in this way. 
However, I think that it's

conceptually easier and more pedagogical to use the following strategy:
- Use \new whenever you want a new context, be it named or anonymous.
- Use \context only when referring to an already existing context .

As you have pointed out, this is not enforced by LilyPond, but I still 
think it's a good habit and

good way to teach about LilyPond.

However, there are some fine details about the use of named contexts 
that I don't understand fully.

I'll start a separate email thread about that in a moment.

/Mats


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Expert question on named contexts

[Mats Bengtsson]

Since I have only used LilyPond for 11 years, I have some remaining 
questions on how it works.
Can anybody tell me exactly what happens with the context names in the 
following example.


\relative c' <<
\new Staff \new Voice = myvoice { c d e f }
\new Staff \context Voice = myvoice { g f e d }
>>

Clearly, I get two Voice contexts, even though they are given the same 
name.
It's also clear that the input is ambigous, since it both states that 
the two voices
should be treated as a single Voice context, but also that they should 
be part of
separate Staff contexts (which means that they cannot be the same Voice 
context).

Apparently, LilyPond lets the latter requirement override the former one.
However, what happens to the context names? Is the Voice context in the 
lower

stave given some random unknown name or do both have the same name but are
kept separate because of the context hierarchy. In the latter case, is 
it even possible
to refer to the Voice context of the lower stave using the name 
"myvoice", under

some circumstance?

  /Mats

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Re: GDP: NR 1.5 Simultaneous, second draft

[Mats Bengtsson]

Karl Hammar wrote:


That is strange, why do you need to do the \new DrumVoice-lines in 
drummode? Example of 2.5.1.3:


 
 \new DrumStaff <<

   \new DrumVoice = "1" { s1 *2 }
   \new DrumVoice = "2" { s1 *2 }
   \drummode {
 bd4 sn4 bd4 sn4
 <<
   { \repeat unfold 16 hh16 }
   \\
   { bd4 sn4 bd4 sn4 }
 >>
   }
 >>
  
Since the <<{...} \\ {} >> construct will create new Voice contexts 
by default, i.e. it doesn't
understand automatically that it's within a DrumStaff and therefore 
should create DrumVoice
contexts instead. However, if there already are contexts available named 
"1" and "2", then they

will be used by the <<{...} \\ {} >> construct.

   /Mats


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Re: lyrics following split voices

[Mats Bengtsson]

Trevor Daniels wrote:
So, for the example in question, the NR should certainly state 
categorically what the voice names are in the various constructs, and 
examples showing the differences would be fine.  But I don't think 
there is any need to put lengthy explanations in the NR - it's a 
reference document - they really need to go in the LM.


So maybe we need an explanation of using voice naming in this way 
somewhere in the LM.  Any suggestions?  And the NR should certainly 
list all the context names that are assigned by default somewhere.  
Perhaps I'll work that into the section on Contexts.  What do you think?

Note that the use of the trick
\new Voice = "1" { ... <<{...} \\ {...}>> ... }
only works if you have a single Staff (or at most one Staff with 
polyphony), since otherwise
you would have several \new Voice = "1" in the same score, which doesn't 
work.
Therefore, it's fairly esoteric and perhaps something that shouldn't be 
taught in the LM.


  /Mats


Trevor

- Original Message - From: "Francisco Vila" 
<[EMAIL PROTECTED]>

To: "Mats Bengtsson" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>
Cc: "Paul Scott" <[EMAIL PROTECTED]>; "LilyPond User" 


Sent: Wednesday, August 06, 2008 12:47 AM
Subject: Re: lyrics following split voices



2008/8/5 Mats Bengtsson <[EMAIL PROTECTED]>:
I'm surprised that nobody answered exactly this question. If you 
name your
main voice "1", then the upper voice of the <<{...} \\ {...} >> 
construct

will stay the same Voice context as the single voice.


That's true, it is explained in LM 3.2.1 I'm hearing Voices
...tangentially. One has to deduct this when he reads 'The Voice
contexts bear the names "1", "2", etc.'

I propose: to add some lines explaining this very case: how to make
the single voice to keep being the same, although a second voice
arrives. LM 3.2.2 Explicitly instantiating voices does explain that
(the red diamonds example), but does not mention the trick of calling
the voice "1" ! It rather uses a simple << .. \new Voice>> construct.


Note, though that the
<<{...} \\ {...} >> construct will add property settings equivalent 
to the
\voiceOne command, so you have to explicitly insert a \oneVoice 
afterwards

to revert to the default settings:


Again, this is only tangentially explained in LM 3.2.2 because the
\oneVoice command is used with no previous <<\\>>construct !

I could not have figured this, without your help. Thanks!

Now I suppose I have to take the compromise to write this down in NR
Simultaneous Notes.

--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org


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Re: strange tempo

[Mats Bengtsson]

Why not follow the approach used in 
http://lsr.dsi.unimi.it/LSR/Item?id=204 ?


   /Mats

David Bobroff wrote:

I need to create a tempo marking that would look like this:

\tempo 4 ~ 4. = 53

...if \tempo worked like that.  I was trying to cobble something 
together by creating a markup containing music.  My plan was to print 
a quarter tied to a dotted quarter, move a text script using offset 
and remove the engravers for staff lines, clef, time sig, etc.  I ran 
into a bug that makes this impossible; combining ties or dots with 
\remove Staff_symbol_engraver leads to a segmentation fault.


Help?

-David


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Re: automatic note splitting and ties

[Mats Bengtsson]

Which LilyPond version are you using?
Exactly what is it that you think looks strange? Is it the tie 
introduced by the note splitting or the
one you specified manually? When I tried to remove the automatic note 
splitting from your example,

the remaining tie looked exactly the same.

   /Mats

Stefan Thomas wrote:

Dear lilypond-users,
I have a problem with ties in connection with automatic note 
splitting. I don't understand why the ties in the below quoted example 
look so strange:

Is it a bug?
\score {
\new Staff {
\new Voice \with {
  \remove "Note_heads_engraver"
  \consists "Completion_heads_engraver"
  }
  r2
 
  r2 < e  c' >4 < f  des' >8 < des'  ees' >4 -> < c'  e' >
  r8 < e  c' >4 < f  des' >8 < des'  ees' >4 -> < c'  e' > < b  f' > 
r8 r4
 
   r2 < e  c' >4 < f  des' >8 < des'  ees' >8~ -> < des'  ees' >8 < 
c'  e' >
  
   } %staff ende

}
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Re: markup dynamics wrong size

[Mats Bengtsson]

In addition to my previous answer: The size of the markup text is larger 
since the template contains

the line:
 \override TextScript #'font-size = #2
If you just remove that line, you should get the same size as the normal 
dynamics.


The question is why the setting was done in the first place. Perhaps 
it's just a remainder
from some ancient version where this setting made sense, and nobody has 
used the

template with text or \markup command lately.

   /Mats

Eric Flesher wrote:

Wondering if anyone has experienced the following problem:

When creating new centered dynamics in a piano staff in ver. 2.11.55 
(and several earlier versions) using \markup, three things happen:


1. the markup text created is significantly larger than the normal 
dynamic size

2. the text does not align with other dynamic markings
3. the presence of the markup text forces additional space between the 
staves







The dynamic marking concerned is contained in a variable thus:
pocoF = \markup  { \italic poco \dynamic f }


and is deployed locally as follows:
\times 4/5 { s16 s\mp s s-\pocoF s\> } \times 4/5 { s8\! s\mp s16 } s4

(I would include more code, but the file is extremely long.)

Any idea what might be wrong here, and how this could be fixed?

Thanks,
EF



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Re: timing, lyrics, chords, melody

[Mats Bengtsson]

Morten Lemvigh wrote:


Try to have a look at the documentation concerning lyrics and vocal 
music:

http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Vocal-music
I would rather recommend to read in the Learning Manual for the latest 
development version of LilyPond. Almost all the information you can find 
there is applicable also to version 2.10 and the text has been 
significantly revised and improved. In particular, take a look at 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Songs#Songs


The Lyrics should be associated with a "Voice":

\new Staff {
  \new Voice = "melodyVoice" {\melody}
}

\new Lyrics \lyricsto "melodyVoice"  \text
In this particular example, using \addlyrics is an even simpler option 
(see "Setting simple songs" in the Learning Manual), but otherwise I 
agree that it's a good idea to learn about \lyricsto as soon as possible 
since you will need it sooner or later anyway.


/Mats


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Re: midi2ly

[Mats Bengtsson]

Did you read the section on MacOS X in the manual:
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Notes-for-the-MacOS-X-app#Notes-for-the-MacOS-X-app

/Mats

Rafael González wrote:

I have a Mac 10.4. I downloaded lilypond and I am able to typeset 
files and turn them into MIDI files.
I have come to a dead stop in trying to produce lilypond files from 
MIDI files. I tried to invoke midi2ly as instructed in the manual:

"

*midi2ly translates a Type 1 MIDI file to a LilyPond source file. *

*MIDI (Music Instrument Digital Interface) is a standard for digital 
instruments: it specifies cabling, a serial protocol and a file 
format. The MIDI file format is a de facto standard format for 
exporting music from other programs, so this capability may come in 
useful when importing files from a program that has a converter for a 
direct format. *


*midi2ly converts tracks into **Staff* 
<http://lilypond.org/doc/v2.11/Documentation/user/lilypond-internals/Staff#Staff>* 
and channels into **Voice* 
<http://lilypond.org/doc/v2.11/Documentation/user/lilypond-internals/Voice#Voice>* 
contexts. Relative mode is used for pitches, durations are only 
written when necessary.* "


The command line tells me: *No such file or directory*. The version I 
downloaded is: 2.10.33-1. It downloaded easily just by clicking in the 
GUI. Should I have downloaded it through the command line in order to 
get midi2ly, and other ly conversion files?


Rafael
γγγ



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Re: duplets

[Mats Bengtsson]

Eric Flesher wrote:


Greetings,

Is it possible to suppress/alter the tuplet number in the case of the  
duplet shown below? (m. 91, bass staff) According to Stone, this  
should be engraved as a duplet with the numeral "2" in the bracket.  
This could of course be represented instead by dotted eighths, but  
these then get rather cumbersome given the quadruplet that follows on  
the next beat.


One solution is to use scaled durations within the tuplet:
\relative c'{
\time 9/8
r4. \times 3/2 { c4*1/2 d ~ } d4. |
}


   /Mats


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Re: markup dynamics wrong size

[Mats Bengtsson]

Eric Flesher wrote:



Longer dynamic strings (e.g. "p delicato", "crescendo", etc.) that are engraved
as dynamic scripts in this fashion end up getting centered, as a text string,
horizontally under the notehead. This necessitates offsetting them somehow; my
immediate workaround is to apply
\once \override DynamicText #'extra-offset = #'( x . y )
to shift the dynamic string to the appropriate position.

With this in mind, however, is there a means of doing the following:

a) Defining a dynamic text string that will left-align to the notehead? This is
generally what is desired for markings such as "cresc." "dim.", plus other
expressive markings ("dolce", etc.) that stand alone, i.e. without a dynamic
marking such as "p", "f", etc.
 

It's tricky (well, see below) to get the alignment into the dynamic 
indication itself. However, you can add a

\once \override DynamicText #'self-alignment-X = #LEFT
before the note with the dynamics, to make it left aligned.

To do the alignment within each dynamic indication, you have to
turn off the default alignment mechanism (which just looks at the
left and right edge of the full markup and ignores the internal
alignment point of the markup) by
\override DynamicText #'X-offset = ##f
Then, you can specify the alignment within each markup:

\version "2.10.33"
% Left alignment is the default for markups:
pdelicatomarkup = \markup{ p \normal-text \italic delicato }
pdelicato = #(make-dynamic-script pdelicatomarkup)
moltofmarkup = \markup{\right-align \line {\normal-text \italic molto 
\dynamic f }}

moltof = #(make-dynamic-script moltofmarkup)
\relative c'{
 \override DynamicText #'X-offset = ##f
 c \moltof d \pdelicato
}


b) Defining a dynamic text string that centers the dynamic mark ("p", "f", etc.)
under the notehead as per usual, while allowing any modifiers in the string
(e.g. "dim.", "dolce", etc.) to follow to the right?
 


One possibility is to use the above described method with
\halign #0.8 ...
as a replacement for
\left-align
for example (you may need some other value than 0.8, use trial and error).
See the documentation of \halign at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Align
for more information.

However, if the dynamic mark is to be followed by "dim", then the
normal solution is

\version "2.10.33"
\relative c'{ \setTextDim c \f \> d e f g a b c \! }

The manual describes how to change the text to something else, but
conceptually, this is perhaps not the best solution for p dolce, for 
example,

even though it will provide the desired layout.


I know that this latter, in particular, is a rather sophisticated request, but
it would be worth being able to automate such issues that are likely to occur
frequently.
 


Yes, it would be very nice to be able to specify the alignment point
of a markup in a more convenient way.

   /Mats


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Re: markup dynamics wrong size

[Mats Bengtsson]

Mats Bengtsson wrote:






Yes, it would be very nice to be able to specify the alignment point
of a markup in a more convenient way.


I just realized that it indeed is possible to specify the horizontal
alignment point to be between two parts of a markup:
beforeaftermarkup = \markup {\right-align before \left-align after }
but it's too late at night right now for me to figure out how to set it
to be centered on a symbol (like the "f" in "f molto").

  /Mats


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Re: markup dynamics wrong size

[Mats Bengtsson]

Reinhold Kainhofer wrote:

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

Am Freitag, 8. August 2008 schrieb Mats Bengtsson:
  

Mats Bengtsson wrote:


Yes, it would be very nice to be able to specify the alignment point
of a markup in a more convenient way.
  

I just realized that it indeed is possible to specify the horizontal
alignment point to be between two parts of a markup:
beforeaftermarkup = \markup {\right-align before \left-align after }
but it's too late at night right now for me to figure out how to set it
to be centered on a symbol (like the "f" in "f molto").



We already had that discussion a while back (the 'Aligning "sempre pp" 
with "p"...' tread starting on Feb 10) and I summarized all suggestions in 
the LSR snippets I quoted in my earlier Mail.
  
Yes, when I was writing my answer, it suddenly felt very familiar but 
since it was late at night,
my brain didn't realize to look for the email thread or possible LSR 
entry. Thanks for the link.
Just a comment on the LSR entry: I wouldn't expect many people to be 
able to understand
exactly how the different methods work, since there's no mention on how 
the default alignment
is done. Also, it doesn't mention the obvious drawbacks of Solutions 1, 
2, 3 and 5, that you need

quite some trial and error to get the numbers right.

Does anybody know why this LSR entry isn't included in the Snippet List 
of the GDP
documentation. Since it only works under 2.11, it certainly would be 
more relevant to

have there than in LSR, for the moment.

   /Mats



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Re: Augmentation dot problem in 2.11.55

[Mats Bengtsson]

David Bobroff wrote:
I just tried it on XP and Fedora 8.  Looks fine here.  Dots are *not* 
on staff lines.
Are you sure that you used exactly the same version (2.11.55-2)? These 
things shouldn't
differ between platforms. I can repeat the problem on Linux and it's 
clearly a bug.


   /Mats


-David

Peter Johnson wrote:

I'm on an Intel Mac, OS 10.5.4 using the PPC download.

Augmentation dot placement seems to have broken between v2.11.54 and
v2.11.55-2.  In the latest version, dots are only placed on staff 
lines, as
in the attached example.  I ran both versions on the same file (and 
others).


Has anyone seen this on different set-ups?

Thanks.

Peter

%% tested input file
\relative c'' {
\clef treble
\time 3/4
g2. a4. b c8. d e d c4. b a2. g }
%% ends
http://www.nabble.com/file/p1613/test-2.11.54.jpg 
http://www.nabble.com/file/p1613/test-2.11.55-2.jpg






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Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: Arlignment of Bars

[Mats Bengtsson]

I'm not sure that I understand. Do you want the bar lines to be aligned 
between the multiple lines of the score?


One possible trick is to typeset each score line as a separate stave and 
remove the initial connecting bar line
that you normally see in a multi-stave score, as well as the time 
signature on all but the top line.

Here's an example:

\version "2.10.33"
\score{
<<
 \new Staff \relative c'' {
   \time 3/4
   c4 c c | b b b | a a a | g2 g4 | f f f | e e e | d d d | c2. |
 }
 \new Staff \with {
   \override TimeSignature #'stencil = ##f } \relative c'' {
   \time 3/4
   e4 e e | d d d | c c c | b2 b4 | a a a | g g g | f f f | e2. |
 }
 \new Staff \with {
   \override TimeSignature #'stencil = ##f } \relative c'' {
   \time 3/4
   c4 c8 d e f | g4 g, g | a a8 b c d | e2 e,4 | f4 f8 g a b | c4 c, c |
   f d b' | c2. |
 }
>>
\layout{
 \context{
   \Score
   \remove System_start_delimiter_engraver
 }
}
}

This solution actually makes some sense also if you generate MIDI output.

Another possibility might be to try to use the support for proportional 
notation.


   /Mats

Michael Menge wrote:

Hi,

I'm new to lilypond. Till now i could solve my problems by reading the 
documentation, but I could not find anything for the following problem.


I am setting an canon and I want to align the bar lines
after an linebreak.

Regards

   Michael Menge

 


M.Menge Tel.: (49) 7071/29-70316
Universitaet Tuebingen  Fax.: (49) 7071/29-5912
Zentrum fuer Datenverarbeitung  mail: 
[EMAIL PROTECTED]

Waechterstrasse 76
72074 Tuebingen



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Re: lily to openoffice

[Mats Bengtsson]

Search the mailing list archives. For example, 
http://lists.gnu.org/archive/html/lilypond-user/2007-05/msg00111.html

shows one simple change that's needed.

   /Mats

Grammostola Rosea wrote:

Hi,

I saw that there is a OOolilypond, tool to insert lilypond in OO. When 
will it work with lilypond 2.11 ?


Are there other way to do the trick?




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Re: strange tempo 2

[Mats Bengtsson]

Valentin Villenave wrote:


2008/8/8 Neil Puttock <[EMAIL PROTECTED]>:
 


2008/8/7 David Bobroff <[EMAIL PROTECTED]>:
   


Does Rheinhold's work allow for the kind of thing I want; a quarter tied to
a dotted quarter = ?
 


Yes, since tempoText can take any \markup commands.
   



This means we'll have to rewrite quite a bunch of snippets when .12 is
out, don't we?
 


Or perhaps remove some that show tweaks that are no
longer needed.

  /Mats


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Re: Arlignment of Bars

[Mats Bengtsson]

Michael Menge wrote:


One more question,

is it possible to use ties and slurs across the line break?


That's a bit tricky. For ties, you can use \repeatTie and
\laissezVibrer. For slurs, the best alternative is probably
to use transparent notes that the slur ends can be attached
to, but it will cause problems with the note spacing.

What I proposed really is an ugly workaround, not a proper
solution.

  /Mats


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Re: Arlignment of Bars

[Mats Bengtsson]

Valentin Villenave wrote:


2008/8/8 Michael Menge <[EMAIL PROTECTED]>:

 


that was what i was looking for.
   



... and has now been added to the LSR as
http://lsr.dsi.unimi.it/LSR/Item?id=502

(Gee, the first bar looks awful)
 


It looks better in version 2.11. For version 2.10, it helps to
replace the \layout section by

\layout{
\context{
 \Score
 \remove System_start_delimiter_engraver
 % Needed in version 2.10 to avoid too cramped
 % spacing after the time signature:
 \override SpacingSpanner #'average-spacing-wishes = ##f
}
}


   /Mats


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Re: Expert question on named contexts

[Mats Bengtsson]

Han-Wen Nienhuys wrote:


On Wed, Aug 6, 2008 at 9:11 AM, Mats Bengtsson <[EMAIL PROTECTED]> wrote:

 


\relative c' <<
\new Staff \new Voice = myvoice { c d e f }
\new Staff \context Voice = myvoice { g f e d }
   



both contexts get the same name.  If you want to refer to either of
them, you need to name the staves too,


\relative c' <<
\new Staff = "A" \new Voice = myvoice { c d e f }
\new Staff = "B" \context Voice = myvoice { g f e d }
 



so you can do \context Staff = A \context Voice = myvoice { .. }

to send something the 1st voice.
 


Thanks for the explanation. The next question is if both these
Voice contexts can be refered to using \lyricsto, since the
Lyrics context isn't part of any Staff context.

In the following example, I tried to put them into separate
ChoirStaff contexts, hoping that the search for the Voice
first is done locally in the context hierarchy, but it seems
that both \lyricsto find the same Voice context.

\score{
\relative c' <<
 \new ChoirStaff<<
   \new Staff \new Voice = myvoice { c1 | d2 e | f1 }
   \new Lyrics \lyricsto myvoice { What hap -- pens here? }
 >>
 \new ChoirStaff<<
   \new Staff \new Voice = myvoice { c2 d | e1 | f1 }
   \new Lyrics \lyricsto myvoice { What hap -- pens here? }
 >>
>>
}



Apparently, LilyPond lets the latter requirement override the former one.
However, what happens to the context names? Is the Voice context in the
lower
stave given some random unknown name or do both have the same name but are
kept separate because of the context hierarchy. In the latter case, is it
even possible
to refer to the Voice context of the lower stave using the name "myvoice",
under
some circumstance?
   



Perhaps we should have a nice scheme hack that will print out the
context hierarchy at any point.


 


That would be great!

   /Mats


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Re: Partially changing the vertical position of lyrics

[Mats Bengtsson]

See for example 
http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00266.html
for one solution. Often, the best solution is instead to enforce a line 
break

between the two parts. See also http://lsr.dsi.unimi.it/LSR/Item?id=265

  /Mats

Jens Taprogge wrote:


Dear list members,

I have a score where the first couple of bars are repeated once with
different lyrics and then the rest of the bars are not repeated. (So
there is only one lyric at this point).

What I am trying to achieve is to have the two different lyrics of the
first part (repeated music) underneath each other and then the lyrics of
the second part centered vertically with regard to the two others. At
the same time I do not want to add extra space between the two lyrics of
the first part.

Is there a way to achieve this.  If so how?

Thanks a lot in advance
Jens Taprogge


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Re: Stanza font

[Mats Bengtsson]

I hope you have read the Learning Manual for LilyPond version 2.11
(which applies almost completely also to version 2.10, but has been
heavily revised and improved). This should tell you how to find the
answer yourself.
(Or, you could scroll down to the end of this email  ;-)   )

  /Mats

Jens Taprogge wrote:


Dear list members,

I have changed the font of lilypond lyrics using:
\layout {
 \context {
   \Lyrics
 \override LyricText #'font-name = #"FPL Neu"
 }
}

Now I would like to change the font of the stanza as well. (I am using
the command "\set stanza = "1. " fr example.

Can someone tell me how to achieve this.

Thank you very much in advance.
Jens Taprogge


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Something like 
\override StanzaNumber #'font-name = #"FPL Neu"

should work.

   /Mats



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Re: Arlignment of Bars

[Mats Bengtsson]

Patrick Horgan wrote:



What if I wanted the parts explicit?  How would I get the bars 
aligned, i.e. 8 bars
per line with even spacing so the bars all line up up and down the 
page?  The first line is obviously problematic, but the others don't 
really line up all their bars.  Is there a switch to make all bars 
equal length?


I did mention an alternative solution in my previous email, namely
to use the support for proportional notation. See the manual for
details. However, this will not only make all bars equal lenght but
also affect the note spacing within each bar.

  /Mats


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Re: Arlignment of Bars

[Mats Bengtsson]

Patrick Horgan wrote:


Michael Menge wrote:


One more question,

is it possible to use ties and slurs across the line break?


/
NR 4.3.1 Line breaking 
/ 
says yes and shows a break doing just that.



That's a completely different issue. The question here was how to do it
if you used my weird trick to typeset each score line as a separate stave.

   /Mats


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Re: Comments on Learning Manual 3 -- Fundamental concepts

[Mats Bengtsson]

Graham Percival wrote:


On Sat, 9 Aug 2008 18:15:35 +0200
"John Mandereau" <[EMAIL PROTECTED]> wrote:

 


In 'Introduction to the LilyPond file structure':
by default, \header does not use the same fields depending on its
scope (\book or \score), so IMO it's better to show the more standard
file structure with a \header outside the \score.
   



I disagree.  Shoving \header outside of a \book or \score is a
shorthand, and I'd rather keep the "basic" example as basic as
(reasonably) possibly.  Also, having a \header on its own will
result in it being applied to either the \book or \score -- if we
explicitly stick \header inside the \score, there's no ambiguity.
 


You miss the point! The problem is that if you do
\score{
\relative c'{ c d e f }
\header{
 title = "Here's the title, that's never printed."
}
}

then no title is printed, since the title is typeset at the \book level
and no header fields are specified at the \book level. Having a
header outside the score is not a shorthand, it's absolutely
necessary of you want e.g. the title printed.

  /Mats



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Re: Phrasing slures starting on single voice, ending in multiple voice

[Mats Bengtsson]

Please read the section called "Explicitly instantiating voices"
in the Learning Manual for version 2.11.

   /Mats

Alberto Simões wrote:


Hi again,

I have this code

 2 %%% --> this one \(
   ~
  ~
 << { \stemUp g'4 fis e2  2 ~ \partial 4 4} \\
{ \stemDown d2 ~ d4 ciss2 s4} \\
{ \stemDown \showStaffSwitch b4 a
  \change Staff = "lower"
  \stemUp g2 fis2~\partial 8 fis4
}
 >>  %%% Should finish here \)

There was no big deal, if I didn't need a phrasing slur for all this 
portion of music. I tried to open in the right place (check comment)
and make it end at the end of the multiple voice portion. But lilypond 
doesn't like (and I understand why). I tried to make it end in one of 
the voices from the polyphonic portion, but didn't had any success.


What is the better way to do this?
 - put the first 4 chords in a polyphonic notation?
 - or is there any trick?

Thanks
Alberto




--
=====
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Repeat problem

[Mats Bengtsson]

Hint: A bar check is a music expression.

   /Mats

Palmer, Ralph wrote:


Greetings, All -

I'm running LilyPond 2.11.53 under Windows XP SP3. I feel more than
slightly embarrassed: I just finished the GDP rewrite of repeats, and I
cannot figure out what the problem is with this snippet. I keep getting
a "more alternatives than repeats" error. It prints to pdf, but no
second ending.

Thanks for your help,

Ralph

%% begin snippet %

%The Blue Ball & The False Proof
\version "2.11.53"
\include "english.ly"

BlueBallUp = \relative c'' {
\clef treble
\key d \major
\time 6/8

%Part A
\repeat volta 2 {
b,8 fs' e d cs a |
}
\alternative {
{cs8 b a b4 a8 } |
{cs8 b a b4.} |
}


%Part B
fs'4 b,8 d cs b |
\bar  "|."
}

\layout {
indent = #0
}

\score {
\BlueBallUp
}

% end snippet 


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Mats Bengtsson
Signal Processing
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Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: context, drum staff

[Mats Bengtsson]

If you read at 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Percussion-staves#Percussion-staves
you will learn that the voice-like context for percussion is called 
DrumVoice, you cannot use an ordinary Voice context in a DrumStaff.


   /Mats

Stefan Thomas wrote:


Dear Lilypond users,
in the below quoted example I get two staves, although I would like to 
have one!

What could be wrong?

\version "2.11.49"
global = { \time 4/4 s1 }
drumsA = {
\context Voice <<  { \global }  { \drummode {  tamb4 tamb tamb 
tamb } } >> }
   
\new DrumStaff

{ \drumsA }



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=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Expert question on named contexts

[Mats Bengtsson]

Trevor Daniels wrote:


My understanding is that the name given to a context is
stored internally as the context's id.  You can display this
with the ly:context-id function.  In the example above both
contexts have id set to "myvoice", as least that's what this
function returns.


I take the opportunity to ask another "basic" question.
The ly:context-id function, as well as many other functions,
take a context as the input. I have never realized how you
get hold of this context id. For example, how did you print the
context id:s in my example?

   /Mats



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Re: Expert question on named contexts

[Mats Bengtsson]

Mats Bengtsson wrote:


Trevor Daniels wrote:


My understanding is that the name given to a context is
stored internally as the context's id.  You can display this
with the ly:context-id function.  In the example above both
contexts have id set to "myvoice", as least that's what this
function returns.



I take the opportunity to ask another "basic" question.
The ly:context-id function, as well as many other functions,
take a context as the input. I have never realized how you
get hold of this context id. For example, how did you print the


What I meant was: get hold of this context object, i.e. the argument
to use to these functions


context id:s in my example?


  /Mats


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