Parameterizing a LilyPond function

[PMA]

Hi List.

I would like to alter this function...

glissmove = {
  \once \override Glissando #'(bound-details left Y) = #1.3
  \once \override Glissando #'(bound-details right Y) = #1.3
}

to accept its 1.3 or whatever as an input parameter instead.

I see docs on parameterizing Scheme functions, but not on
doing this in LilyPond directly -- LP's param handing syntax.
Have I overlooked something obvious?

Thanks in advance.

Pete

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Re: Parameterizing a LilyPond function

[PMA]

David & David,

Thank you Both!

I'm using the one-param version, as in this score my X & Y offsets 
always match.

But on exec -- uh oh -- Scheme is yelling:

   :2:65: error: GUILE signaled an error for the expression 
beginning here

   \once \override Glissando #(quote (bound-details left Y)) = #
 offset
   Unbound variable: offset

Hmm.  The invocation, BTW, was \glissmove #1.3

Just in case, better tell you my LP Version is still 2.13.32.
If I must upgrade Right Now, well then ok, but I'd almost prefer a 
cyanide pill.


Pete


David Kastrup wrote:

PMA  writes:


Hi List.

I would like to alter this function...

glissmove = {
   \once \override Glissando #'(bound-details left Y) = #1.3
   \once \override Glissando #'(bound-details right Y) = #1.3
}

to accept its 1.3 or whatever as an input parameter instead.

I see docs on parameterizing Scheme functions, but not on
doing this in LilyPond directly -- LP's param handing syntax.
Have I overlooked something obvious?


It is not a function but a music constant.  To make a function, write

glissmove =
#(define-music-function (parser location offset) (number?)
   #{
 \once \override Glissando #'(bound-details left Y) = #offset
 \once \override Glissando #'(bound-details right Y) = #offset
   #})

Check the "Extending LilyPond Guide" for define-music-function.




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Re: Parameterizing a LilyPond function

[PMA]

You're right, man: working dory-hunky!

I promise to upgrade *BTWN* projects.

Thanks again,
Pete


David Nalesnik wrote:

Hi Peter,

On Sun, Dec 2, 2012 at 5:00 PM, PMA  wrote:

David&  David,

Thank you Both!

I'm using the one-param version, as in this score my X&  Y offsets always
match.
But on exec -- uh oh -- Scheme is yelling:

:2:65: error: GUILE signaled an error for the expression
beginning here
\once \override Glissando #(quote (bound-details left Y)) = #
  offset
Unbound variable: offset

Hmm.  The invocation, BTW, was \glissmove #1.3

Just in case, better tell you my LP Version is still 2.13.32.
If I must upgrade Right Now, well then ok, but I'd almost prefer a cyanide
pill.



There shouldn't be any _need_ here to upgrade, but there really have
been a lot of improvements since the version you're using (including
much greater power/flexibility/ease regarding music functions).  I
think you simply need to substitute $ for # in front of offset to make
this work.

-David



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Re: Parameterizing a LilyPond function

[PMA]

David Kastrup wrote:

PMA  writes:


David&  David,

Thank you Both!

I'm using the one-param version, as in this score my X&  Y offsets
always match.
But on exec -- uh oh -- Scheme is yelling:

:2:65: error: GUILE signaled an error for the expression
beginning here
\once \override Glissando #(quote (bound-details left Y)) = #
  offset
Unbound variable: offset

Hmm.  The invocation, BTW, was \glissmove #1.3

Just in case, better tell you my LP Version is still 2.13.32.
If I must upgrade Right Now, well then ok, but I'd almost prefer a
cyanide pill.


That's an unstable version from more than two years ago.  This is a
combination that does not exactly make a lot of sense since unstable
versions are likely to contain short-lived bugs and features.

If upgrading is a horror for you, you should only be using stable
versions.  Using unstable versions makes sense only when you are
planning on frequent updates.


Gotcha!  Thanks.

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Re: OFF-TOPIC: Changing Education Paradigms [Re: Advocating non-free softwares]

[PMA]

bobr...@centrum.is wrote:



An optimist believes that we are living in the best of all conceivable
worlds.  A pessimist _knows_ it.



--
David Kastrup


NICE!
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Yes!   Got me wondering -- How might one fit
the realist in here (without loss of pithitude)?

PA

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Re: OFF-TOPIC: Changing Education Paradigms [Re: Advocating non-free softwares]

[PMA]

Kieren MacMillan wrote:

Hi Peter,


An optimist believes that we are living in the best of all conceivable
worlds.  A pessimist _knows_ it.


Yes!   Got me wondering -- How might one fit
the realist in here (without loss of pithitude)?


I thought the same thing… What I came up with is this:

An optimist believes that we are living in the best of all conceivable worlds.
A pessimist _knows_ it.
A realist lives in this world.

All the best,
Kieren.


Aha!   Better than mine -- won't even tell.

All likewise,
Pete

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Re: OFF-TOPIC: Changing Education Paradigms [Re: Advocating non-free softwares]

[PMA]

PMA wrote:

Kieren MacMillan wrote:

Hi Peter,


An optimist believes that we are living in the best of all conceivable
worlds. A pessimist _knows_ it.


Yes! Got me wondering -- How might one fit
the realist in here (without loss of pithitude)?


I thought the same thing… What I came up with is this:

An optimist believes that we are living in the best of all conceivable
worlds.
A pessimist _knows_ it.
A realist lives in this world.

All the best,
Kieren.


Aha! Better than mine -- won't even tell.

All likewise,
Pete

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Or maybe, "A realist is just living."



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Re: Thank you -- Hear! Hear!

[PMA]

I've had the same experience (short of realizing).

Pete


"Dr. med. Kai Lautenschläger" wrote:

Hello List,

I just want to let you know, that I continue to be _very_ thankful for all the 
great ideas, patient explanations and profound help I draw from this list! The 
amount of time most of you invest in this is truly heroic! I have been telling 
this to many music-friends of mine and realised, that it's you, that should 
here it.

So, here we go: Thank you very very much for all your help!

Best regards,

Kai


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Re: Files from Lilypond workshop @ LAC 2013

[PMA]

luis jure wrote:


on 2013-05-21 at 13:18 David Kastrup wrote:


It would seem that you associate the term "pitch" with physical
frequency.


no, it's not me, it's the standard meaning of the term as used in music
theory, psychoacoustics, musical acoustics, music cognition, and all the
disciplines i know that deal with music and/or the perception of sound. it
also seems to be the standard meaning in dictionaries and encyclopedias.

BTW, its cleat that pitch is NOT physical frequency, but a perceptual
sensation (dependent mainly on the fundamental frequency of an acoustic
signal).



That is not how LilyPond uses the term


fair enough, although honestly i don't see how it could be convenient to
use an established term with a definite meaning to denote something else.
imagine that, like florian, you're introducing lilypond to people with
solid background in music theory (composers, musicologists, whatever). i
can imagine that using the term "pitch" to mean something other than pitch
is going to cause confusion.


A "note" is more than a pitch: it has duration, articulations, etc.


fair enough, the term "note" has a less definite meaning, and can denote
different things depending on the use. i'd rather not comment on the
possible meanings of the term in the english language, and how it's
similar or different form the german "Note" or "Ton" or the spanish "nota".

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I think a serious go at terminological precision
would note the distinction: pitch vs pitch-class.

PA




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Re: Files from Lilypond workshop @ LAC 2013

[PMA]

David Kastrup wrote:

It's not as much a matter of being correct, but rather of how this term
is employed within LilyPond and its documentation.  LilyPond also uses
"event" in a meaning that contrary to common usage does not include
birthday celebrations.


"Event", of course, has been in common _musical_ usage
ever since non-focussed-pitch occurrences overstretched
the "note" concept.

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Re: Mutable and immutable

[PMA]

Andrew Bernard wrote:

Greetings All,

Since immutable as an adjective applied to an object in most programming 
languages, and in normal English usage means unchanging over time, or unable to 
be changed, how is it that the value of immutable objects can then be changed 
with \override and \revert? From the Technical Glossary:

An immutable object is one whose state cannot be modified after creation, in 
contrast to a mutable object, which can be modified after creation.

In LilyPond, immutable or shared properties define the default style and 
behavior of grobs. They are shared between many objects. In apparent 
contradiction to the name, they can be changed using \override and \revert.

I fail to understand this entry. Surely the name must therefore be ‘shared’ or 
‘default’’ or similar? How can such a contradiction persist, with no 
explanation given?

In some Scheme code I am writing I am trying to change the line style of a 
TextSpanner:

(ly:grob-set-property! grob 'style 'dotted-line)

But the value remains unchanged after the call, with no error. Is ‘style’ an 
immutable property? Can it only be changed using \override, and not directly in 
Scheme?

I cannot speak for others, but I find the distinction between mutable and 
immutable in lilypond to be rather unrigorous and downright strange – and 
therefore completely confusing. I am sure it is important in the architecture 
of the application, but the terms are of no help to somebody learning the 
language, unless there are expanded notes  on what the essence of the meaning 
is.

Andrew


FWIW, I think of \override and \revert as _extreme_ measures appropriate
and necessary for altering a Constant, as opposed to the routine measure
(mere re-assignment) sufficient to alter a Variable.

But then, I'm from a generation trained in Pascal.

- Pete

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Re: OT: Beauty of programming languages

[PMA]

Michael Gerdau wrote:

Anybody remembering APL ?


APL was my main lang. for decades,
as is now its superset/descendant, J.

I've got weary trying to tell anybody
why.  But the curious might take a
peek at

http://www.jsoftware.com/

Pete


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Re: Gallery of Interesting Music Notation

[PMA]

Trevor Daniels wrote:

... in the Learning Manual:
http://www.lilypond.org/doc/v2.19/Documentation/learning/real-music-example


Should the LH upper 'D' not be an E-flat?

- PMA

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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75.  I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

- Pete

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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75. I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

- Pete


P.S.  I upload all results to IMSLP, upon copyright registration.

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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75. I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original
compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

P.S. I upload all results to IMSLP, upon copyright registration.


People have been so forthcoming on this thread, I feel like expanding
my entry background-wise a little.  I was a pianist in academia for
decades, focussed most especially on the late works of F. Busoni.
My commitment to composition came late -- along with an interest in
programming, as the ideas that caught my fancy begged hard for
algorithmic carrying-out.  I learned in order: BASIC, Forth (had a one-
year fling as a computer games geek), Pascal, C, and APL.  This last
hooked me, and I've toddled after it into J.

Re IMSLP, I'd recommend it to anybody not bent on fame & fortune
via publication.  IMSLP posts scores & audio, offers several levels of
Creative Commons copyright, and accomodates revisions.  Last I
heard, they were considering offering bound hardcopy output for a
modest fee upon request.  That was maybe a year ago, so I don't
know if it's come true.

Cheers!
Pete

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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75. I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original
compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

P.S. I upload all results to IMSLP, upon copyright registration.


People have been so forthcoming on this thread, I feel like expanding
my entry background-wise a little. I was a pianist in academia for
decades, focussed most especially on the late works of F. Busoni.
My commitment to composition came late -- along with an interest in
programming, as the ideas that caught my fancy begged hard for
algorithmic carrying-out. I learned in order: BASIC, Forth (had a one-
year fling as a computer games geek), Pascal, C, and APL. This last
hooked me, and I've toddled after it into J.

Re IMSLP, I'd recommend it to anybody not bent on fame & fortune
via publication. IMSLP posts scores & audio, offers several levels of
Creative Commons copyright, and accomodates revisions. Last I
heard, they were considering offering bound hardcopy output for a
modest fee upon request. That was maybe a year ago, so I don't
know if it's come true.

Cheers!
Pete


Oops, forgot: was 16-year UNIX SysAdmin for the federal judiciary.
Reckon that covers it.

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Re: 2.18.2 - Thoughts so far

[PMA]

Hear, hear!

Ivan Kuznetsov wrote:

Do yourself a serious favor and learn vi


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Overlap Beams in Time?

[PMA]

Dear List:

First, thank you for Lilypond -- this wonderful tool -- and for 
accepting my subscription.


I am placing noteheads, and using beams, in a way that has little to do 
with common usage.
Lilypond has to a considerable extent "played along", as you'll see in 
the attached example.


But you see also what I *can't* make Lilypond do: overlap beams symbols 
in *time*.  I want

a separate beam above the staff, connecting those A's.

Metrically of course that's preposterous, so if I code the 2nd set of 
"[...]"s, Lilypond screams
	Preprocessing graphical objects...ERROR: Wrong type (expecting real 
number): \

#

Does anybody know a way around this predicament?  I've scoured the docs 
and wiki in vain.


All ideas will be appreciated.
Thanks in advance,
Peter A.

P.S.  My last resort would be to add the second beam later -- by force 
-- within a PDF editor.
   But accuracy in that context is tough, and I haven't yet seen 
such an editor with Undo.


lapped-beams.pdf
Description: Adobe PDF document
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[Fwd: Overlap Beams in Time?]

[PMA]

Fixed. For proof, see pudding attached.
(And I see this was hardly a new issue.)
Thanks Jay!
Pete


 Original Message 
Subject: Overlap Beams in Time?
Date: Sat, 04 Sep 2010 14:53:49 -0400
From: PMA 
To: lilypond-user@gnu.org

Dear List:

First, thank you for Lilypond -- this wonderful tool -- and for
accepting my subscription.

I am placing noteheads, and using beams, in a way that has little to do
with common usage.
Lilypond has to a considerable extent "played along", as you'll see in
the attached example.

But you see also what I *can't* make Lilypond do: overlap beams symbols
in *time*.  I want
a separate beam above the staff, connecting those A's.

Metrically of course that's preposterous, so if I code the 2nd set of
"[...]"s, Lilypond screams
Preprocessing graphical objects...ERROR: Wrong type (expecting real
number): \
#

Does anybody know a way around this predicament?  I've scoured the docs
and wiki in vain.

All ideas will be appreciated.
Thanks in advance,
Peter A.

P.S.  My last resort would be to add the second beam later -- by force
-- within a PDF editor.
But accuracy in that context is tough, and I haven't yet seen
such an editor with Undo.



lapped-beams.pdf
Description: Adobe PDF document
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List-email Suggestion

[PMA]

Hi List.

Would it be feasible to prepend "[Lilypond]" to the forum's email 
Subject line?
Much of my other mail arrives this way -- like that from "[Csnd]" and 
"[LAU]".

Does wonders for auto-filing.

Pete


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Re: List-email Suggestion

[PMA]

An FYI (not, I hope, ugly/crappy or expecting the rest of the world to 
change):


In my Debian-Linux Iceape email server I have now a filter looking 
simply for
"lilypond" in any Subject, From, To, Cc.  So-far, it's caught whatever 
it should.


Thanks for all suggestions!


Kaz Kylheku wrote:

On Sun, 5 Sep 2010 14:22:35 -0400, Brett McCoy 
wrote:

I like to scan emails in my inbox by subject, too, and it's nice to
see what is there (LAU, Ardour-user, etc). I use gmail so everything
isn't automatically moved to a folder.


gmail problems should be solved by gmail. You can't expect the
rest of the world to change because you have a crappy e-mail client
which doesn't have folders and filtering.

"Hey, I use Unix 'mail'. Everyone adjust!"

You can kick the gmail habit. One option is that for pennies a day,
you can have your own domain with DNS A and MX records pointing
to your own machine.


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Before I clobber my LilyPond V-2.10...

[PMA]

Is LilyPond 2.12.2-1 (for Debian "squeeze") likely to work on Debian 
"Lenny"?


Alexander Kobel wrote:

On 2010-09-06 15:50, Xavier Scheuer wrote:
On 6 September 2010 15:29, Richie Gress  
wrote:


I am trying to engrave music that has no meter; this is what I need
help doing:



I need to specify where I want the barlines to go.


Use  \cadenzaOn  and explicit bar lines with  \bar "|" .
You'll probably also need  \bar ""  to permit line breaks.  [...]


I need to have some staves disappear when they only have rests in them,
and then reappear later when they begin to have music again.


That's the purpose of  \RemoveEmptyStaffContext  (isn't the right name
\RemoveEmptyStaves now?).


AFAICS, for \RemoveEmptyStaffContext to work, you have to use 
MultiMeasureRests.  Do these work together with cadenzas?  The last time 
I checked (just two minor versions ago) I ran into trouble, both with 
score timing and the alignment of the MMR grob in the "measure"/cadenza.
Is there something like a "FullCadenzaRest", centered in a cadenza, and 
possibly split if the cadenza is broken into several lines?  If no, 
please consider this as a possible enhancement request... ;-)


In the meantime, if \cadenzaOn causes you trouble, try the following: 
Use \time 4/4 with \layout { \context { \Staff \remove 
Time_signature_engraver } } or \layout { \context { \Staff \override 
TimeSignature #'stencil = ##f } }, without \cadenzaOn, and use 
\scaleDurations to fit the music of each "measure" into 4/4:
{ c'4 c4 c2 c8 c2 } (of length 13/8) will be one "measure" with 
\scaleDurations #'(8 . 13) { c'4 c4 c2 c8 c2 }.



Cheers,
Alexander

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Re: Confusion about beaming

[PMA]

as i see it, the bracket -- whether '[' or ']' - modifies the note on 
it's left.


Marc Schonbrun wrote:

Hello,

I was wondering about why the decision was made in the input syntax parser to 
view beaming groups as follows:

}

\relative {
  c8 d [e f g a b c]
}

The above snippet beams from the d through to the final c. At first glance, it would appear that the brackets are encasing the e through c, and those notes would end up beamed together, but, alas, this is not the case. 


This is one of those things that I can happily learn, but it takes a pause to 
get it right. Can someone comment on the history of this? I am simply curious.

Thanks,
Marc


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Re: Confusion about beaming

[PMA]

... so works more as a function than as a literal output graphic.

PMA wrote:
as i see it, the bracket -- whether '[' or ']' - modifies the note on 
it's left.


Marc Schonbrun wrote:

Hello,

I was wondering about why the decision was made in the input syntax 
parser to view beaming groups as follows:


}

\relative {
  c8 d [e f g a b c]
}

The above snippet beams from the d through to the final c. At first 
glance, it would appear that the brackets are encasing the e through 
c, and those notes would end up beamed together, but, alas, this is 
not the case.
This is one of those things that I can happily learn, but it takes a 
pause to get it right. Can someone comment on the history of this? I 
am simply curious.


Thanks,
Marc


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Re: List-email Suggestion

[PMA]

I can report that my filter looking for "lilypond" in Subject/From/To/Cc
catches everything I'd hoped it would -- except of course any replies
to me that haven't Cc:'d the List.

To that last, I'd welcome a solution, if there's one that won't enrage
everybody.  If not, I can live with it.

Cheers,
Pete


Wols Lists wrote:

 On 07/09/10 23:55, David Rogers wrote:

* Matthias Kilian  [2010-09-07 22:22]:


On Mon, Sep 06, 2010 at 07:10:59PM -0700, David Rogers wrote:

I really only see two requests for change, which pop up again and
again;
those are of course the two recently discussed - making the list the
default reply-to address, and prefixing the subject line.

Graham already said that this will not change. Go figure out why.


:-) Nice.

It's easy to see that only the published standards are pedantically
correct in all cases. That wasn't my point. I argue that "not
pedantically correct in all cases, but easier to use ninety-five percent
of the time and easy to fix the other five" is a better solution. I
don't run this list, and I know who does, so I was already aware of
where I would be asked to put my opinion. Doesn't mean I don't have one.
:)


If your changes make it "easier to use 95% of the time", then why are -
I would guess about 50% - of the responses to this thread saying "it
works as it is, don't change it" ?

I think the evidence is against you ...

Cheers,
Wol

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2 pages on 1 ?

[PMA]

Hi List.

I have a LilyPond score printing to 11X17 paper in landscape mode.
Most of the result -- with staves stretching fully across the page of
course -- is looking okay.

But one movement isn't.   It's measures, nearly a half-page wide,
would to my eye be most readable if they were arranged in two
columns (to be read bar-to-bar *downwards* rather than across)
with the columns separated by ca an inch of empty space and a
top-to-bottom-of-page vertical line in the middle.

Before pursuing ugly attempts to fool LilyPond into "allowing" this,
I may as well ask -- Is there a straightforward way?  Can you tell
LilyPond: "The physical paper is 11x17, but just pretend that the
"pages" you're printing are 11x8, and then print them two at a
time side-by-side with this space & big vertical line in between"?

(Or had I better just force an inch of empty mid-page staff, make
that staff portion transparent, force whatever clef to print after it,
and then later -- via a PDF editor -- cram in the vertical divider?)

Thanks in advance for any suggestions!

Pete



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Re: 2 pages on 1 ?

[PMA]

And thank you all -- Nick, Ananth, David, Dmytro !

Clearly I've got some homework to do
Pete


ananth p wrote:

Thanks for the suggestions, David & Dmytro.

Have never worked with postscript. Will try that and pdflatex too.
Agreed, scripting will be useful for repeated jobs.

Perhaps we could create a latex document with an appropriate layout,
and embed lilypond within the columns. Anyways, still something like
"Columns = 3" in the score header will be sweet :)

Ananth

On Sat, Sep 18, 2010 at 1:03 PM, Dmytro O. Redchuk
 wrote:

On Sat 18 Sep 2010, 09:01 David Kastrup wrote:

ananth p  writes:


Multi-Column layout! I need that too.

This is how I did this score (3 Columns)- http://www.twitpic.com/
2pie84

 1. Calculate the width (and height?) of each column; set the page
size accordingly. (page width = column width)
 2. Run LilyPond, output the score as PNGs.
 3. Tailor PNGs. ImageMagick comes handy for this.

Ugh.  Create Postscript, then use psnup or similar to put multiple pages
to one.  If needed, follow up with pstopdf.

Ananth, if it's acceptable, try pdfpages/pdflatex, which can put pdf pages
(produced by lilypond) in proper positions, put page numbers etc-etc. It's
syntax far more readable then psnup's one .)

And yes, this will b "scriptable".

--
 Dmytro O. Redchuk
 Bug Squad


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Horizontal shift

[PMA]

Hi List.

I have a LilyPond score in which an arpeggiated chord tends to be 
preceded by

a rest.  And too often, the arpeggio glyph overlaps its preceding rest.

How can I shift horizontally -- either the rest slightly leftwards, or 
the arpeggio

glyph itself ever-so-slightly rightwards?

I tried "-\tweak #'X-offset #-1" just before "\arpeggio", but LilyPond 
hated this.


Have I overlooked something obvious?
Thanks in advance!
Pete

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[Fwd: Horizontal shift]

[PMA]

Oops, my "\tweak..." attempt did not include that initial '-'.

 Original Message 
Subject: Horizontal shift
Date: Fri, 22 Oct 2010 20:35:24 -0400
From: PMA 
To: lilypond-user@gnu.org

Hi List.

I have a LilyPond score in which an arpeggiated chord tends to be
preceded by
a rest.  And too often, the arpeggio glyph overlaps its preceding rest.

How can I shift horizontally -- either the rest slightly leftwards, or
the arpeggio
glyph itself ever-so-slightly rightwards?

I tried "-\tweak #'X-offset #-1" just before "\arpeggio", but LilyPond
hated this.

Have I overlooked something obvious?
Thanks in advance!
Pete

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Re: Horizontal shift

[PMA]

Mea culpa!  The arpeggio is *not* overlapping "legitimate" rest glyphs,
but only the glyph I substituted, that happens to jut a hair rightwards!

Still, as I'm stubborn enough to stick to that choice, your suggested
"...extra-offset..." has solved the problem in both aspects -- applying
either a positive value to Arpeggio, or a negative one to Rest.

Thanks and greetings back!
Pete

Vicente Solsona wrote:
On Sat, 23 Oct 2010 02:35:24 +0200, PMA  
wrote:



Hi List.

I have a LilyPond score in which an arpeggiated chord tends to be 
preceded by

a rest.  And too often, the arpeggio glyph overlaps its preceding rest.

How can I shift horizontally -- either the rest slightly leftwards, or 
the arpeggio

glyph itself ever-so-slightly rightwards?

I tried "-\tweak #'X-offset #-1" just before "\arpeggio", but LilyPond 
hated this.


Have I overlooked something obvious?
Thanks in advance!
Pete


try something like this:

\once \override Arpeggio #'extra-offset = #'(-1 . 0)
\arpeggio


greetings,

Vicente




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Levelling sustain-pedal indications

[PMA]

In a piano page chock full of bracket-style pedalling for chords at
widely different pitch levels, I've managed to align the horizontal
pedalling lines vertically, via a zillion little paragraphs like

\once \override Staff.PianoPedalBracket #'edge-height = #'(1 . 3.5)
sustainOn
...
sustainOff

Trouble is that as a result, the vertical (On/Off) pedalling lines
are all different lengths.  Is there a way to tell LilyPond, "Keep
this vertical *placement*, but don't print the ugly vertical-line
*extensions* that caused it"?

My current plan is to -- later when the dust settles -- white out
the extensions in a PDF editor.

Thanks,
Pete

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Re: Levelling sustain-pedal indications

[PMA]

a-Ha!  pursuing -- thank you Keith!

Keith E OHara wrote:

On Mon, 25 Oct 2010 00:51:11 -0700,  wrote:


In a piano page chock full of bracket-style pedalling for chords at
widely different pitch levels, I've managed to align the horizontal
pedalling lines vertically, via a zillion little paragraphs like



Pete,
You can put the pedal indications in their own separate row, which 
is placed as if it were a third staff.  One of the snippets, 
, defines an analog of Staff 
called Dynamics that can hold dynamics and pedaling, but does not print 
staff lines.  The essence of it is below, plus a \remove statement to 
remove the pedaling indications from the regular Staffs, so you can try 
this out without much retyping.  The leftHand part is included twice in 
the score block; the Staff prints the notes, while Dynamics just prints 
the pedal indications.
People like this Dynamics context well enough that it will come 
standard in the next version of LilyPond.  I like it for pedaling, but 
actually don't use it myself for dynamics, because putting dynamics all 
on the same horizontal line forces the left and right-hand staves too 
far apart for my taste.


leftHand = \relative c {
   c4\sustainOn b g\sustainOff e
   c4\sustainOn b g\sustainOff e
   c4\sustainOn b g\sustainOff e
   c4\sustainOn b g\sustainOff e
}
\score {
   \new PianoStaff <<
 \new Staff { s1*4 }
 \new Staff {
   \clef bass
   \leftHand
 }
 \new Dynamics {
   \set Dynamics.pedalSustainStyle = #'bracket
   \leftHand
 }
%{%}  >>
   \layout {
 \context {
   \Staff
   \remove "Piano_pedal_engraver"
 }
 \context {
   \PianoStaff
   \accepts "Dynamics"
 }
 \context {
   \type "Engraver_group"
   \name Dynamics
   \consists "Piano_pedal_engraver"
   \consists "Axis_group_engraver"
 }
   }
}




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Move Page Numbers?

[PMA]

Hi List.

Most of my current score's page numbers need
shifting a little, both vertically and horizontally.

Can "\override ... #'extra-offset = #'( ...  .  ...)"
or something similar be aimed at PageNumber
(instead of, say, DynamicText) to shift them?

I could, I know, force the issue, page-numbering
via markup text from a lucky note on each page.
But it'd be nice to avoid such a kludge.

Regards,
Pete

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Re: Move Page Numbers?

[PMA]

Thomas Morley wrote:

2014-02-05 PMA:

Hi List.

Most of my current score's page numbers need
shifting a little, both vertically and horizontally.

Can "\override ... #'extra-offset = #'( ...  .  ...)"
or something similar be aimed at PageNumber
(instead of, say, DynamicText) to shift them?

I could, I know, force the issue, page-numbering
via markup text from a lucky note on each page.
But it'd be nice to avoid such a kludge.

Regards,
Pete




Hi,

how about:

\version "2.18.0"

%% After an idea by Torsten Haemmerle
%% http://www.lilypondforum.de/index.php?topic=1393.msg7673#msg7673

#(set-default-paper-size "a6")

%% Define your generell settings for odd/even page-numbers
%% Exceptions for certain pages are possible, too.
#(define folio-offset '(
 ;; general
 (odd . (-2 . 1))
 (even . (-2 . 1))
 ;; exceptions for page 3 and 4
 (3 . (-1 . -1))
 (4 . (-3 . -4))
))

#(define-markup-command (place-folio layout props folio) (markup?)
(let* ((page-number (chain-assoc-get 'page:page-number props))
   (general-off
 (if (odd? page-number)
 (assoc-get 'odd folio-offset '(0 . 0))
 (assoc-get 'even folio-offset '(0 . 0
   (page-off (assoc-get page-number folio-offset '(0 . 0)))
   (offs
 (cons
   (+ (car general-off) (car page-off))
   (+ (cdr general-off) (cdr page-off
   (m (interpret-markup layout props folio))
   (x-ext (ly:stencil-extent m X))
   (y-ext (ly:stencil-extent m Y)))

(interpret-markup layout props
  (markup
 ;#:box   ;; uncomment for testing
 #:with-dimensions x-ext y-ext
 #:line (#:translate offs folio)

\paper {
   indent = 0
   ragged-right = ##f
   oddHeaderMarkup =
   \markup \fill-line {
 \place-folio \fromproperty #'page:page-number-string \null
   }
   evenHeaderMarkup =
   \markup \fill-line {
 \null \place-folio \fromproperty #'page:page-number-string
   }
}

{ \repeat unfold 10 { s1 \pageBreak } }


HTH,
   Harm


"Exceptions", eh?  Cool.  Will read more tomorrow.  Thanks!
P

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Re: Move Page Numbers?

[PMA]

Thomas Morley wrote:

how about:
...
#(define folio-offset '(
...
#(define-markup-command (place-folio layout props folio) (markup?)
...
\paper {
...
HTH,
   Harm


Working beautifully ("TH"d).
Thanks Harm!
Pete


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Sorta Proportional

[PMA]

I gather from output that under
"\set Score.proportionalNotationDuration = #(ly:make-moment )"
LilyPond's handling of _rests_ and _spaces_ is (in different ways)
not in sync with its handling of _notes_.

This is all per version 2.12.3, I'm embarrassed to say.
But has that scenario changed since?

PMA





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Proportional-Notation Durations

[PMA]

Hi List.

I'm looking for a LilyPond way to specify note duration
in a Proportional Notation context using exactly _one_
stemless notehead type.

Perhaps the first option is a mid-level horizontal line
extending distance-X from the notehead.  (The space
following would indicate silence.)

But I want ask: has anyone done this instead with the
_hairpin_ -- attached to a note-head via pitch params,
tapered to a param-specified length, and filled?

If not, or in any case, any other ideas?

Thanks in advance for your time.
Pete

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Re: Proportional-Notation Durations

[PMA]

Thomas Morley wrote:

2014-07-09 0:24 GMT+02:00 PMA:

Hi List.

I'm looking for a LilyPond way to specify note duration
in a Proportional Notation context using exactly _one_
stemless notehead type.

Perhaps the first option is a mid-level horizontal line
extending distance-X from the notehead.  (The space
following would indicate silence.)

But I want ask: has anyone done this instead with the
_hairpin_ -- attached to a note-head via pitch params,
tapered to a param-specified length, and filled?

If not, or in any case, any other ideas?

Thanks in advance for your time.
Pete




Hi Pete,

do you mean something like:
http://lists.gnu.org/archive/html/lilypond-user/2012-12/msg00145.html
?

Somewhere on my computer I've an updated version, if the link shows
what you're looking for.

Cheers,
   Harm


Hi Yerself, Harm!

I will give this a shot.  (Better update to 2.18
first - I've been still treading water in 2.12.3).

Thanks!
Pete

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Re: List defect?

[PMA]

I've no idea, and don't see it as clearly a defect _of the list_.
Over the past few days I've had emails straggling in a day-
or-so late from _several_ forums.

Richard Shann wrote:

On Thu, 2014-07-10 at 14:53 +0200, Simon Albrecht wrote:

Hello,

now there definitely seems to be something wrong with mail delivery on
the list.

I too have been receiving the emails on the list in haphazard order over
the past few days. What else I've noticed (over a month or so) is
complaints from the postmaster of this list about excessive bounces - I
don't get this from other lists.

Richard


  Some people already reported they were not receiving some posts at
all. With me, some posts pop up another time two days or so after they
were originally sent (including my own). Do any of you know what might
be going on? And where to eventually report this buggy behaviour?

Yours, Simon
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Re: List defect?

[PMA]

Simon Albrecht wrote:

Hello,

now there definitely seems to be something wrong with mail delivery on the list.


Agreed.  I had reported similar trouble with other forums'
email, but now only LilyPond's hasn't returned to normal.

Pete

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Re: Updating a score from version 1.4

[PMA]

I'm thinking this implies that convert-ly is best used
incrementally by LP version, with no intermediate
upgrading omitted.  So, with original code at Ver 'A'
and my destination Ver 'E', then for best results I'd
install Versions B, C, D and run all four convert-ly's
(A->B; B->C; C->D; D->E)?

Is this right -- that convert-ly is meant to be applied
cumulatively?

Regards,
Pete


Colin Campbell wrote:

On 14-07-17 10:52 AM, Larry Kent wrote:

Thanks, James, David, and Hwaen. Convert-ly doesn't handle version 1.4
very well, not surprising. The current project I'm working on is a
very short piece, so I may just start over with this one. Long-term,
however, it would be nice to find somewhere that a user can grab an
old version, install it in a separate folder and work on an old edition.



Would it work if you were to install an intermediate version of
LilyPond, perhaps 2.8.0 and use the convert-ly from that version to get
you part way, then run convert-ly from your current version to finish
the job? This is untested, but may be a more general solution than
simply recoding from scratch. In principle, it's nearly always worth the
effort to bring an old score up to current levels when you are revising
it, although as you imply, it may not be useful for a minor revision or
two.

Cheers,
Colin




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Re: Updating a score from version 1.4

[PMA]

David & Harm,

Thank you!  I let my unresolved fuzziness on this issue
(and a memory of messy cumulative system upgrades)
keep me from attempting a 'convert-ly' _EVER_.

Now I stand -- well, sit -- corrected, and am ready to at
least _try_.

Pete


David Kastrup wrote:

PMA  writes:


I'm thinking this implies that convert-ly is best used
incrementally by LP version, with no intermediate
upgrading omitted.  So, with original code at Ver 'A'
and my destination Ver 'E', then for best results I'd
install Versions B, C, D and run all four convert-ly's
(A->B; B->C; C->D; D->E)?

Is this right -- that convert-ly is meant to be applied
cumulatively?


No. convert-ly is an application that has rules for each conversion, and
while newer versions tend to add just rules at the end, there have been
several instances where old rules have been corrected.  So you never
have anything to gain from running older versions of convert-ly.

However, if you have some older version of LilyPond around, it may make
the conversion easier by using a current convert-ly but telling it to
stop at your older version of LilyPond.  Then you fix stuff manually
until everything works again (the old rules are really spotty, and there
were some rather drastic syntax changes in those times), and then
continue converting to the current version.  In case the old rules
messed stuff up, cleaning up before applying the next batch of
conversions might conceivably result in less work and/or fewer followup
errors, or at least better manageable work.

So there may be some point in not converting all-in-one-go.  But even if
you stop in the middle, there is no point in doing it with any but the
newest convert-ly.




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New LilyPond on Ancient Debian?

[PMA]

Hi List.

My Debian version is Squeeze (oldstable),
with default LilyPond at version 2.12.3-7.

Has any of you successfully upgraded LP
to version 2.18.0-1 on that system?

Thanks,
Pete


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Re: Proportional-Notation Durations

[PMA]

PMA wrote:

Thomas Morley wrote:

2014-07-09 0:24 GMT+02:00 PMA:

Hi List.

I'm looking for a LilyPond way to specify note duration
in a Proportional Notation context using exactly _one_
stemless notehead type.

Perhaps the first option is a mid-level horizontal line
extending distance-X from the notehead. (The space
following would indicate silence.)

But I want ask: has anyone done this instead with the
_hairpin_ -- attached to a note-head via pitch params,
tapered to a param-specified length, and filled?

If not, or in any case, any other ideas?

Thanks in advance for your time.
Pete



Hi Pete,

do you mean something like:
http://lists.gnu.org/archive/html/lilypond-user/2012-12/msg00145.html
?

Somewhere on my computer I've an updated version, if the link shows
what you're looking for.

Cheers,
Harm


Hi Harm.

Not quite.  Attached is a mockup (c/o xfig) of what I have in mind:
a stemless notehead, to be placed on the staff according to its LP
pitch-name; and a filled hairpin for the duration, placed vertically
along with the head, but with its horizontal length calculated by
LilyPond from the score's note-value spec.

(Wouldn't that be nice?)
Cheers,
Pete


hairpin_dur.pdf
Description: Adobe PDF document
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Re: Proportional-Notation Durations

[PMA]

Mike Solomon wrote:


On Jul 24, 2014, at 9:08 PM, PMA  wrote:


PMA wrote:

Thomas Morley wrote:

2014-07-09 0:24 GMT+02:00 PMA:

Hi List.

I'm looking for a LilyPond way to specify note duration
in a Proportional Notation context using exactly _one_
stemless notehead type.

Perhaps the first option is a mid-level horizontal line
extending distance-X from the notehead. (The space
following would indicate silence.)

But I want ask: has anyone done this instead with the
_hairpin_ -- attached to a note-head via pitch params,
tapered to a param-specified length, and filled?



I’ve seen this done with glissandi.
It is possible with any spanner, but glissandi are easier in that they are 
already associated with note heads.

Cheers,
MS


Thanks Mike.

Yes, I have a glissandi example, and the layout overall looks good.
But a glissando heads off towards the next _pitch_ -- i.e., not just
horizontally to the Right 'til Dur-time runs out, which is what I want.

I could insert an invisible repeated pitch, I suppose, to fool a gliss
into this direction.  But I'd rather not have to, especially with the
extra metrical fuss required.

BTW, the context for such stuff would be perpetual \cadenzaOn,
with \bar "|" crammed in whenever a simultaneity is imminent.

"Is it worth it, Petee?"

Who knows?
Regards,
Pete

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Reduce vertical space between \score's?

[PMA]

Hi List.

An *.ly of mine has four 1-system \score's on each page,
rather than one 4-system \score, because each system's
"Score.proportionalNotationDuration...make-moment..."
setting is different (and \score accepts only one such
setting).

Trouble is, the vertical space between \score's is too big.
This was not so in the original version (2.12.3), but is
now after my upgrade to version 2.18.2.

Is it possible to reduce LP-1.18.2's default value for the
vertical space between \score blocks?

Thanks in advance for any thoughts.
Pete

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Re: Reduce vertical space between \score's?

[PMA]

P.S.  I should ask alternatively: Is there a way that
"proportionalNotationDuration...make-moment..."
can be reset _per system_ (assuming now a multi-
system \score)?

PMA wrote:

Hi List.

An *.ly of mine has four 1-system \score's on each page,
rather than one 4-system \score, because each system's
"Score.proportionalNotationDuration...make-moment..."
setting is different (and \score accepts only one such
setting).

Trouble is, the vertical space between \score's is too big.
This was not so in the original version (2.12.3), but is
now after my upgrade to version 2.18.2.

Is it possible to reduce LP-1.18.2's default value for the
vertical space between \score blocks?

Thanks in advance for any thoughts.
Pete



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Re: Reduce vertical space between \score's?

[PMA]

Abraham Lee wrote:

On Fri, Aug 8, 2014 at 12:24 PM, Kieren MacMillan
 wrote:

Hi Pete,


Trouble is, the vertical space between \score's is too big.
This was not so in the original version (2.12.3), but is
now after my upgrade to version 2.18.2.

Is it possible to reduce LP-1.18.2's default value for the
vertical space between \score blocks?


Have you thoroughly read


??

If so, what are your questions, specifically?

Hope this helps!
Kieren.
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If the vertical spacing is really your question, then you'll find this
helpful (with the description in the link that Kieren provided.

Regards,
Abraham


Thanks Abraham & Kieren!

My issue was, How can I reduce the vertical space between the last
(actually the only) system of a \score and the top (only) system of
the next.  After scrounging in paper-defaults-init.ly as suggested, I
found what I needed to tease: params for "score-markup-spacing".
Now my between-score spaces have the needed reduction!

For the record, extra fuss was forced by documentation var names
NOT matching those in paper-defaults-init.ly.

That latter lists:  But the doc page lists:
between-system-spacing  markup-system-spacing
between-scores-system-spacing*  score-markup-spacing*
after-title-spacing score-system-spacing
before-title-spacingsystem-system-spacing
between-title-spacing   markup-markup-spacing
top-system-spacing  last-bottom-spacing
top-title-spacing   top-system-spacing
bottom-system-spacing   top-markup-spacing

* The Left var's param-set here turned out to work with the Right
varname.  But I suspect this same-line matchup was due to luck.
Maybe those Right names -- improvements, I reckon -- could get
due mention in the init file.

Thanks again for steering me!
Pete

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Re: Reduce vertical space between \score's?

[PMA]

PMA wrote:

Abraham Lee wrote:

On Fri, Aug 8, 2014 at 12:24 PM, Kieren MacMillan
 wrote:

Hi Pete,


Trouble is, the vertical space between \score's is too big.
This was not so in the original version (2.12.3), but is
now after my upgrade to version 2.18.2.

Is it possible to reduce LP-1.18.2's default value for the
vertical space between \score blocks?


Have you thoroughly read
<http://www.lilypond.org/doc/v2.18/Documentation/notation/flexible-vertical-spacing-paper-variables#list-of-flexible-vertical-spacing-paper-variables>


??

If so, what are your questions, specifically?

Hope this helps!
Kieren.
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email: i...@kierenmacmillan.info
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If the vertical spacing is really your question, then you'll find this
helpful (with the description in the link that Kieren provided.

Regards,
Abraham


Thanks Abraham & Kieren!

My issue was, How can I reduce the vertical space between the last
(actually the only) system of a \score and the top (only) system of
the next. After scrounging in paper-defaults-init.ly as suggested, I
found what I needed to tease: params for "score-markup-spacing".
Now my between-score spaces have the needed reduction!

For the record, extra fuss was forced by documentation var names
NOT matching those in paper-defaults-init.ly.

That latter lists: But the doc page lists:
between-system-spacing markup-system-spacing
between-scores-system-spacing* score-markup-spacing*
after-title-spacing score-system-spacing
before-title-spacing system-system-spacing
between-title-spacing markup-markup-spacing
top-system-spacing last-bottom-spacing
top-title-spacing top-system-spacing
bottom-system-spacing top-markup-spacing

* The Left var's param-set here turned out to work with the Right
varname. But I suspect this same-line matchup was due to luck.
Maybe those Right names -- improvements, I reckon -- could get
due mention in the init file.

Thanks again for steering me!
Pete


Uh-oh.  No, the result is _no_ different.  My eyes
must be tired.  I'll experiment more tomorrow.

P

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Re: Retrograde and inversion clefs

[PMA]

guoguocuozuoduo wrote:
> Hi all,
> 
> I am working on a piece that uses reversed and inverted clefs which indicate 
> retrograde and inversion.
> The reversed clef is placed at the end of a line to indicate retrograde; the 
> inverted clef is placed before the main clef to indicate inversion.
> 
> How can I achieve this in Lilypond?
> 
> Any help would be much appreciated.
> 
> Attached is a picture to demonstrate what I would like to achieve.
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How is inversion working here (assuming
an inverted C-clef could look inverted)?

Pete


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Force auto-beaming?

[PMA]

Hi List.

I have a \cadenzaOn score with many notes, occasional rests,
and no barlines.  I want beaming imposed for all consecutive
(flagged) notes, interruptible only by rests.

That was LP 2.12's default auto-beam behavior, but 2.18 in
this context (tho with "\set Staff.autoBeaming = ##t") only
writes flags.  Is there an override to force auto-beaming?

Thanks in advance.
Pete

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Re: Force auto-beaming?

[PMA]

Pierre Perol-Schneider wrote:

Hi Peter,
how about a tiny example ?
Cheers,
Pierre


Hi Pierre,

Ok, I'll whittle down a big one (to remove home-grown
non-culprit conditions you'd otherwise have to wonder
about) and send the still-botching Tiny.

All I want, really, is a command that says to the auto-
beaming gremlin, "Force this, even under \cadenzaOn
with some barlines crammed in -- ALWAYS -- period!"

So that a beam will break _only_ for a non-beamable
note or for a rest.

Thanks,
Pete


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Re: Reduce vertical space between \score's?

[PMA]

PMA wrote:

PMA wrote:

Abraham Lee wrote:

On Fri, Aug 8, 2014 at 12:24 PM, Kieren MacMillan
 wrote:

Hi Pete,


Trouble is, the vertical space between \score's is too big.
This was not so in the original version (2.12.3), but is
now after my upgrade to version 2.18.2.

Is it possible to reduce LP-1.18.2's default value for the
vertical space between \score blocks?


Have you thoroughly read
<http://www.lilypond.org/doc/v2.18/Documentation/notation/flexible-vertical-spacing-paper-variables#list-of-flexible-vertical-spacing-paper-variables>



??

If so, what are your questions, specifically?

Hope this helps!
Kieren.
___

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www: <http://www.kierenmacmillan.info>
email: i...@kierenmacmillan.info
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If the vertical spacing is really your question, then you'll find this
helpful (with the description in the link that Kieren provided.

Regards,
Abraham


Thanks Abraham & Kieren!

My issue was, How can I reduce the vertical space between the last
(actually the only) system of a \score and the top (only) system of
the next. After scrounging in paper-defaults-init.ly as suggested, I
found what I needed to tease: params for "score-markup-spacing".
Now my between-score spaces have the needed reduction!

For the record, extra fuss was forced by documentation var names
NOT matching those in paper-defaults-init.ly.

That latter lists: But the doc page lists:
between-system-spacing markup-system-spacing
between-scores-system-spacing* score-markup-spacing*
after-title-spacing score-system-spacing
before-title-spacing system-system-spacing
between-title-spacing markup-markup-spacing
top-system-spacing last-bottom-spacing
top-title-spacing top-system-spacing
bottom-system-spacing top-markup-spacing

* The Left var's param-set here turned out to work with the Right
varname. But I suspect this same-line matchup was due to luck.
Maybe those Right names -- improvements, I reckon -- could get
due mention in the init file.

Thanks again for steering me!
Pete


Uh-oh. No, the result is _no_ different. My eyes
must be tired. I'll experiment more tomorrow.

P


Hi Abraham & Kieren!

Editing an example to send you, and sniffing
more in the LP docs, I happened to trip over
" #(set-global-staff-size 20) ".

When I told my score to reduce that default
by 1, the vertical-space problem evaporated.

So my original question -- How reduce space
between same-page \score's? -- is moot, at
least for this time around.

Thanks, tho, for your responses.
Pete

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Multiple LilyPond Versions

[PMA]

Hi List.

I've downloaded an old LilyPond version (lilypond-2.10.33-1.linux-x386.sh)
to correct some details in an old .ly score that the 2.12 & 2.13.. versions
just won't stand for.

The .sh is sitting now in an isolated directory.  Before executing it, I 
want

to ensure that doing so won't overwrite or otherwise clobber my existing
LilyPond setups.

How can I control the installation-process's file distribution?

Thanks in advance.
Pete

P.S.  In my new Linux upgrade, I can't recall how I managed this issue
on my old system -- or even whether I did, beyond getting lucky.

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LilyPond vs Squeeze (was: LilyPond 2.12.3 and Fonts in Debian Squeeze)

[PMA]

Hi List.

I have a quite different problem involving Lilypond & Squeeze.

An .ly file that my lilypond version 2.13.32 processed successfully
under Lenny, it (same version) fails to process under Squeeze.

So-far there is just one message text...
 error: syntax error, unexpected STRING, expecting \
 SCM_IDENTIFIER or SCM_TOKEN or '='

but it is issued multiple times, each time objecting to a variable
assignment within the \paper block, as below:

\paper {
  paper-width  = 5.5\in
  paper-height = 11\in
  left-margin  = 0\in
  right-margin = 0\in
  line-width   = 4.0in
  indent   = 0\in  % ...starting with this 
one, and then
  short-indent = 0\in   %  if I comment it out, the 
next, etc,

  between-system-space = 0.5\cm
  print-page-number = ##f
  top-margin= 10\mm
  bottom-margin = 10\mm
  first-page-number = #4

Any ideas?
Regards,
Pete

P.S.  FYI, in Squeeze I downloaded/installed 2.13.32 "fresh"
(i.e., rather than use the exec from my Lenny setup).


Tiresia Giuno wrote:


On Sat, 26 Mar 2011 15:58:55 +0100
Federico Bruni  wrote:

Hi,

I put Don (debian maintainer) in CC

Il giorno ven, 25/03/2011 alle 08.01 +0100, Tiresia Giuno ha scritto:

I think I found out where the problem is. I don't get any noteheads,
clef, dynamics if I use either "\mp" or "mf".

Could you please try to compile your example like this:

 \version "2.12.3"
 #(set-global-staff-size 14)

 { a\mp b c d }

Thanks a lot for your help.


Yes, you are right and this problem is specific of debian lilypond
packages (in wheezy also).

In the meanwhile you can install the last 2.12 from lilypond.org:

http://www.lilypond.org/unix.html

that version works fine.

If you run 'lilypond -dpreview' you'll see that .eps and .png files
are almost fine (except for a thick black line on the left).
The .pdf is absolutely wrong.

Don, can you check it?
Thanks,
Federico


Thanks for your reply. It looks like the Debian LilyPond can't print
the letter 'm' as dynamics. I also noticed that setting the
global-staff-size smaller than 12 produces 'bad smoothed' treble clef.
Thanks again, Tiresia

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Re: LilyPond vs Squeeze

[PMA]

oh for heaven's sake -- my apologies to all, for taking your time!

pete


James Lowe wrote:

hello


\paper {
  paper-width  = 5.5\in
  paper-height = 11\in
  left-margin  = 0\in
  right-margin = 0\in
  line-width   = 4.0in


doesn't this need a slash?

4.0\in

James




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Favorite Lilypond-Score Printer?

[PMA]

Hi List.

If you were shopping for a fine non-feature-crazy laser or inkjet 
printer to be used
*only* for private publishing of your LilyPond scores (that trusty old 
dot-matrix will
handle everything else), is there a make-&-model you would especially 
consider?


One constraint -- it must output comfortably onto 11x17 inch card stock.

I'd much appreciate any thoughts.  The vista of available contraptions 
is daunting!


Thanks,
Pete



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Self-Publishing (was "Favorite Lilypond-Score Printer?")

[PMA]

My thanks to all for your suggestions!

The upshot -- well, so far -- is that *if* I buy the printer, it will be a
refurbished HP LaserJet 5000.  Am sniffing out reputable vendors.

Meanwhile, I've begun to explore other (no-printer) options for self-
publishing.  The POD outfits (Lulu first) especially, and the archivers
(IMSLP, WIMA) anyway.

Simply -- I want my scores (PDF) available and known to be so by
folks whose taste might incline them to be interested.  (Reckon
it's the "known to be so" part that'll cost me)

I would love to hear your favorite thoughts on this topic.

Thanks again.
Regards,
Pete


 Original Message 
Subject: Favorite Lilypond-Score Printer?
Date: Sun, 27 Mar 2011 19:45:02 -0400
From: PMA 
To: lilypond-user@gnu.org 


Hi List.

If you were shopping for a fine non-feature-crazy laser or inkjet
printer to be used
*only* for private publishing of your LilyPond scores (that trusty old
dot-matrix will
handle everything else), is there a make-&-model you would especially
consider?

One constraint -- it must output comfortably onto 11x17 inch card stock.

I'd much appreciate any thoughts.  The vista of available contraptions
is daunting!

Thanks,
Pete



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Re: Self-Publishing

[PMA]

Thanks to all for your generous feedback!

I think I've been, though old enough to know better, pretty naive about 
this.

I've never realistically intended to make -- to try making -- money with my
music, or even to print it en masse.

So, what am I doing trying to be a print shop?  Why not simply take my
LilyPond-output PDF files (publication-ready, after all) *to* a print-shop?!

Reckon I needed your good sense for a nudge.
Thanks again.

Pete


Éditions IN NOMINE wrote:

Hi.

I'd like to give you my testymony as a publisher : if you want to
publish and sell as a professional, I have to say that printing is a
REAL job. I mean it takes time, and you won't have a proper score at the
end without professional printers (machine AND guys). I made this choice
a year ago : I've found a printer next to me (a musician !) and I must
admit I spend a lot of time with him to get the best final product
before printing the whole stock. With a final cost below Lulu & Co ! (I
can make as many tests as I want before production, and that saves me
many times !)

Another thing : try to calculate the time you will spend to print your
score on the base of N buyers. You'll spend a LOT of time for this and
it will not be, sadly, of the same quality of a professional printer.

Well, I mean, don't hink that working with a pro will be so much money !

Best regards.
JMarc

Han-Wen Nienhuys a écrit :

On Sun, Apr 10, 2011 at 1:37 PM, Laura Conrad 
wrote:

"Pete" == PMA  writes:

Pete> The upshot -- well, so far -- is that *if* I buy the printer,
Pete> it will be a refurbished HP LaserJet 5000. Am sniffing out
Pete> reputable vendors.

I would recommend against this. I did that, after the kind of
exploration you did, and if you can pick it up on the third floor in
Cambridge, MA, USA, you can have it free. I don't think the duplexer
ever worked more than a month at a time, and currently the fuser is
broken as well. You can buy a duplexing laser printer for less than the
cost of a service call for the HP.


Most printers have a status page that will print the number of pages
printed. Look for a printer that has a very low number there, a
couple of thousand maybe. Many offices have a printer that sits around
doing nothing all day. That is the one you want to buy second hand.



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For a Weird Key Signature

[PMA]

Dear List,

I have a single clef (treble) with key signature consisting
of one Natural (on 2nd-line G) and one Sharp (on above-
the-staff G), as follows:

  \set Staff.keySignature = #`(((0 . 4) . ,NATURAL)
 ((1 . 4) . ,SHARP))

Unfortunately the PDF output displays these signs, not
vertically aligned, but with the lower (Natural) ca 1/8"
to the right.

How can I shift it "back" that far to the left for a vertical
alignment?

I have managed horizontal shifts, but not in the context
of a "keySignature" specification or its silently-printed
individual results.

Would welcome any thoughts.
Thanks,
Pete

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For a Weird Key Signature (Retry)

[PMA]

Hi All.

Was there a response to this below, that maybe my cataracts
missed?  If so, could the sender possibly reSend?  (I'll enlarge
my Inbox text!)

Again, the question is, How can I apply horizontal shift to one
element of a key *signature*?

FYI, the piece's performance notes clarify that its signature is
specific, not just to pitch class, but to octave registration.

Thanks,
Pete


 Original Message 
Subject: For a Weird Key Signature
Date: Tue, 26 Apr 2011 21:02:38 -0400
From: PMA 
To: lilypond-user@gnu.org 

Dear List,

I have a single clef (treble) with key signature consisting
of one Natural (on 2nd-line G) and one Sharp (on above-
the-staff G), as follows:

  \set Staff.keySignature = #`(((0 . 4) . ,NATURAL)
 ((1 . 4) . ,SHARP))

Unfortunately the PDF output displays these signs, not
vertically aligned, but with the lower (Natural) ca 1/8"
to the right.

How can I shift it "back" that far to the left for a vertical
alignment?

I have managed horizontal shifts, but not in the context
of a "keySignature" specification or its silently-printed
individual results.

Would welcome any thoughts.
Thanks,
Pete

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Fwd: Re: For a Weird Key Signature (Retry)

[PMA]

By gum, that solved it -- just right (even the value).
Thanks a bunch!

 Original Message 
Subject: Re: For a Weird Key Signature (Retry)
Date: Tue, 03 May 2011 10:43:55 -0400
From: PMA 
To: Trevor Daniels 

Thanks for this.  I'll give it a go (and post better).

Trevor Daniels wrote:


"PMA" 


Again, the question is, How can I apply horizontal shift to one
element of a key *signature*?


Not sure if this is helpful, but one (only?) property which
affects the placement of elements of a key signature is
'padding. It affects all elements except the first.

Try playing with
\override Staff.KeySignature #'padding =#-1

BTW, more people might respond if you post a small example
which is immediately compilable.

Trevor





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\RemoveEmptyStaffContext (?)

[PMA]

Hi List.

I have a 40-bar LilyPond piano score notated in
3-staff systems (to accomodate a leaping-over
left hand).  Occasionally one staff in a system,
either the middle or upper, contains rests only.

I want to exclude such staves from the output,
and so have defined my \score block as follows,
following Notation & Snippets Ref. suggestions.

\score {
  \new PianoStaff <<
\set PianoStaff.instrumentName = #""
\new Staff = "upper" \upper
\new Staff = "theme" \theme
\new Staff = "lower" \lower
  >>
  \layout {
\context { \RemoveEmptyStaffContext }
  }
}

The output shows no errors, but also no effect:
its rest-only staves are still there.  Could some-
one possibly point up what I've overlooked?

Thanks,
Pete

P.S.  My LilyPond version is 2.13.32.  Also,
"GrandStaff" yields the same result.

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Re: \RemoveEmptyStaffContext (?)

[PMA]

harm6 wrote:



PMA-2 wrote:


Hi List.

Occasionally one staff in a system,
either the middle or upper, contains rests only.

I want to exclude such staves from the output,
and so have defined my \score block as follows,
following Notation&  Snippets Ref. suggestions.

\score {
\new PianoStaff<<
  \set PianoStaff.instrumentName = #""
  \new Staff = "upper" \upper
  \new Staff = "theme" \theme
  \new Staff = "lower" \lower
>>
\layout {
  \context { \RemoveEmptyStaffContext }
}
}

The output shows no errors, but also no effect:
its rest-only staves are still there.  Could some-
one possibly point up what I've overlooked?

Thanks,
Pete



Hi,

it works with StaffGroup:

\score {
 \new StaffGroup \with {
systemStartDelimiter = #'SystemStartBrace
instrumentName = #"aa"}
<<
  \new Staff = "upper" \upper
  \new Staff = "theme" \theme
  \new Staff = "lower" \lower
>>

\layout {
\context {
\RemoveEmptyStaffContext
}
\context {
 \Score
 \override VerticalAxisGroup #'remove-first = ##t
}
}
}

HTH,
   Harm


Afraid not.  No difference from the original output.
But thanks for "StaffGroup".  I'll experiment more.

P

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Re: \RemoveEmptyStaffContext (?)

[PMA]

harm6 wrote:



Graham Percival-3 wrote:


umm, did you try reading the lines immediately above it?


%% Keep the old definitions in here for compatibility (they erase
%previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves
%settings
%% into the desired context. That's just as easy, requires only
%one line more
%% (the \*Staff), but preserves previous context mods.
%% TODO: DEPRECATED_2.13.17, remove at some point in the future
RemoveEmptyStaffContext = \context {
   \Staff
   \RemoveEmptyStaves
}

- Graham



Sorry! Reading comprehension on my part would have been helpful!


I've tried again with Xavier's "RemoveEmptyStaves" code,
and that in turn again with James's "Grand" substitutions.
No difference so-far at all.  I reckon my best next step is
to download 2.14.2.

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Re: \RemoveEmptyStaffContext (?)

[PMA]

harm6 wrote:



Graham Percival-3 wrote:


umm, did you try reading the lines immediately above it?


%% Keep the old definitions in here for compatibility (they erase
%previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves
%settings
%% into the desired context. That's just as easy, requires only
%one line more
%% (the \*Staff), but preserves previous context mods.
%% TODO: DEPRECATED_2.13.17, remove at some point in the future
RemoveEmptyStaffContext = \context {
   \Staff
   \RemoveEmptyStaves
}

- Graham



Sorry! Reading comprehension on my part would have been helpful!


I've tried again with Xavier's "RemoveEmptyStaves" code,
and that in turn again with James's "Grand" substitutions.
No difference so-far at all.  I reckon my best next step is
to download 2.14.2.

Each version I've coded two ways -- with the \layout block
within \score, or separately afterwards.  No difference.

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Re: \RemoveEmptyStaffContext (?)

[PMA]

Ok, sniffing
Thanks

harm6 wrote:



PMA-2 wrote:


I've tried again with Xavier's "RemoveEmptyStaves" code,
and that in turn again with James's "Grand" substitutions.
No difference so-far at all.  I reckon my best next step is
to download 2.14.2.

Each version I've coded two ways -- with the \layout block
within \score, or separately afterwards.  No difference.



Hi,

at least some of the suggestions should work!!

Make sure the lines to hide are really empty. Or, if you're using some other
context/voice (Lyrics , Dynamics etc.), try to comment these to locate the
problem. Some time ago I had a similiar one: a wrong rhythm in \new Dynamics
disturbed hiding of staves.

Cheers,
   Harm



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Re: was \RemoveEmptyStaffContext (?) -- now How Force a Brace?

[PMA]

harm6 wrote:

at least some of the suggestions should work!!

Make sure the lines to hide are really empty. Or, if you're using some other
context/voice (Lyrics , Dynamics etc.), try to comment these to locate the
problem. Some time ago I had a similiar one: a wrong rhythm in \new Dynamics
disturbed hiding of staves.

Cheers,
   Harm


You're right -- there was an upbeat 16th at the end of that line.
(Maybe I've put off cataract surgery too long.)

Here's another quandry.  In a line of four 2/4 bars, I've got bars
2-3 appearing alone but still centered, by making bars 1 and 4
invisible and forcing a clef and key signature at bar 2.

Trouble is, of course, there is no *brace* at beginning of bar 2.
How can I force one there?   (I see no such force in the docs.)

Thanks,
Pete



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Re: was \RemoveEmptyStaffContext (?) -- now How Force a Brace?

[PMA]

harm6 wrote:

at least some of the suggestions should work!!

Make sure the lines to hide are really empty. Or, if you're using some other
context/voice (Lyrics , Dynamics etc.), try to comment these to locate the
problem. Some time ago I had a similiar one: a wrong rhythm in \new Dynamics
disturbed hiding of staves.

Cheers,
   Harm


You're right -- there was an upbeat 16th at the end of that line.
(Maybe I've put off cataract surgery too long.)

Here's another quandry.  In a line of four 2/4 bars, I've got bars
2-3 appearing alone but still centered, by making bars 1 and 4
invisible and forcing a clef and key signature at bar 2.

Trouble is, of course, there is no *brace* at beginning of bar 2.
How can I force one there?   (I see no such force in the docs.)

Thanks,
Pete

P.S.  Alternatively to my invisible bar 1, can Lilypond's "short-
indent" or "left-margin" be applied somehow "\once", to
push bar 2 (now with its brace) in where I want it?

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Is "short-indent" resettable? (formerly "How Force a Brace?")

[PMA]

After more docs-sniffing & experiments, I think my recent query
to Harm probably boils down to --

Given a (global) "short-indent" setting under \paper, is it possible
to "\once \override..." this value for individual score systems?

Regards,
Pete


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Re: Is "short-indent" resettable? (formerly "How Force a Brace?")

[PMA]

harm6 wrote:

 ...
I'm not aware of any possibility to \once\override short-indent or to repeat
the SystemStartDelimiter in the middle of a line or something else, to do
what you intend.

But to force a brace, I created a workaround adding a brace to a barline,
with the possibility to stretch it over the whole score.

I wasn't able to catch the actual extent of the score, so you have to tune
manually.
Perhaps someone else could do so?

\version "2.14.2"
...


Hi Harm!

Good grief, man, all your work.  And that 2nd test brace is just what I 
need!


I've always wished that publishers would format music (solo scores anyway)
according to its measure groupings -- i.e., lay it out like poetry, for 
the same

reason.

Well o'course they won't.  But now with this generous setup of yours, I can.

Thanks a bunch!
Pete


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Re: Is "short-indent" resettable? P.S.

[PMA]

PMA wrote:

...
I've always wished that publishers would format music (solo scores anyway)
according to its measure groupings -- i.e., lay it out like poetry, for the same
reason.

Well o'course they won't. But now with this generous setup of yours, I can.


I dream of making a Beethoven Sonatas edition formatted this way -- to print
on humongous card stock.  (Maybe, if I live to be 111)

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Re: Lilypond lobbying?

[PMA]

I'm confused.  Please forgive a terribly naive question --

*If* my LilyPond output PDF were to match what Schott wants to see
(in other words, a correct Schott-targeted style-sheet would not have
changed it), then would Schott print my original PDF *as-is*?

Thanks,
Pete

Urs Liska wrote:

Dear Francois,

I'm sorry to tell you that I'm convinced that Robert's translation -
although not completely literally correct - does very well match what
Schott wanted to express:

Am 25.08.2011 00:29, schrieb Francois Planiol:

Dear Robert,

The translation doesnt match totally.

(In my own words, to point out what is important in this text, after
20 years in Germany as church musician):


Es ist in den letzten Jahren zum Standard geworden, dass Herausgeber
oder Autoren die Notendateien ihrer Werke für den Notensatz fertig bei
uns abliefern (was eine Nachbearbeitung hier im Hause nicht
ausschließt).

Composers send us usually a data ready-to-print. If necessary and only
in this case, we prefer Finale and Sibelius, for we are used to.

In diesen Fällen bitten wir entsprechend auch um Daten für

Finale und Sibelius, da diese am einfachsten zu verarbeiten sind.
Ausschlusskriterium für die Annahme eines Werkes ist dies jedoch nicht,
vereinzelt wird auch noch nach handschriftlichen Manuskripten direkt
hier im Hause gesetzt.

Bt, there is no reason to exclude for publication a work in
another format, included manuscripts will be considered.

What they say is:

1. They publish their scores with Finale or Sibelius because they are
the most suitable for their engraving style.
2. In recent years it has become a de facto standard that editors or
composers provide their scores as music files, which are
ready-to-print or may need in-house polishing by their own engravers.
3. In these cases (this means the now regular case that the editor
provides a file) they also want Finale or Sibelius files because
they are the easiest to process (meaning they have a tested
work-flow with them).
4. They leave it open to accept works for publication that aren't
prepared this way, because they can in rare cases engrave from
manuscripts in the house.

Practically this means: If an author or editor can't prepare the files
they may decide to spend money for an engraver preparing a Finale score.
In exactly this context they would accept a LilyPond score equally as a
manuscript score: They would enter it from scratch in Finale

Best
Urs

So I think the best would be a Schott style-sheet for lily, send your
music to schott as pdf and underline, you will make the changes they
want, if needed.

Best greetings

Francois

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tempo setting

[PMA]

Hi List.

This is a question about notational judgment.

I have a several-bar phrase in quick 5/8 time
(qtr. + dotted qtr., but quick enough to allow
only one felt beat per bar), and want to give
its first bar a tempo spec equivalent to

 = 80

So, how shall I specify that value?  I figure my
options are:

1) "Meas ="
2) { \note #"4" #1 } tied to { \note #"4." #1 } "="
 or simply
3) { \note #"2." #1 } "="

I tend to favor #3, counting on the original
meaning of the Dot -- to lengthen to some
needed if not-quite-metrically-exact extent.

If you saw that in a score, would it strike
you as sensible, or just wrong?

Thanks for any responses.

Pete



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Re: tempo setting

[PMA]

Thanks, "me"!

The obvious, simple AND accurate,
just hit me:

 "(5 's = 80)"

I'll use it.  Sorry to have screamed
so early.

Pete


me wrote:

Musicians will automatically assume a dotted half note to mean the duration
of three consecutive quarter notes. Option #2 will probably be easiest to
interpret.

On Wed, Oct 5, 2011 at 4:48 PM, PMA  wrote:


Hi List.

This is a question about notational judgment.

I have a several-bar phrase in quick 5/8 time
(qtr. + dotted qtr., but quick enough to allow
only one felt beat per bar), and want to give
its first bar a tempo spec equivalent to

  = 80

So, how shall I specify that value?  I figure my
options are:

1) "Meas ="
2) { \note #"4" #1 } tied to { \note #"4." #1 } "="
 or simply
3) { \note #"2." #1 } "="

I tend to favor #3, counting on the original
meaning of the Dot -- to lengthen to some
needed if not-quite-metrically-exact extent.

If you saw that in a score, would it strike
you as sensible, or just wrong?

Thanks for any responses.

Pete



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Display "r2" as r1?

[PMA]

Hi List.

With many multi-bar rests, my 10-staff StaffGroup in compilation
dies of segmentation fault.  With each multibar rest replaced by
however many R1's, it dies still.

So I've now replaced every R1 with "s2 r2" (which compiles fine),
hoping next to tell Lilypond to *print* that centered "r2" as an r1.

But I don't see a way to persuade it.  Is there a trick that would
accomplish this -- something akin to

   \once \override Rest #'glyph = #"rests.0"  r2

?   (That fails, of course.)

Or, addressing the original problem -- is there a way to make
StaffGroup happy in the first place with multi-bar rests?

Thanks for any consideration.

Best regards,
Pete

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Re: Display "r2" as r1? -- SOLVED!

[PMA]

Here's my snake-oil function for the centered whole-rest.
In 4/4 & proportional notation, it's working like a charm!

REST = {
   s2
   \once \override NoteHead  #'stencil = #ly:text-interface::print
   \once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
   \once \override Stem #'transparent = ##t
   e'2
}

Thanks for listening.
Pete


PMA wrote:

Hi List.

With many multi-bar rests, my 10-staff StaffGroup in compilation
dies of segmentation fault. With each multibar rest replaced by
however many R1's, it dies still.

So I've now replaced every R1 with "s2 r2" (which compiles fine),
hoping next to tell Lilypond to *print* that centered "r2" as an r1.

But I don't see a way to persuade it. Is there a trick that would
accomplish this -- something akin to

\once \override Rest #'glyph = #"rests.0" r2

? (That fails, of course.)

Or, addressing the original problem -- is there a way to make
StaffGroup happy in the first place with multi-bar rests?

Thanks for any consideration.

Best regards,
Pete


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Re: Display "r2" as r1? -- SOLVED! P.S.

[PMA]

oh, and alto clef.

PMA wrote:

Here's my snake-oil function for the centered whole-rest.
In 4/4 & proportional notation, it's working like a charm!

REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
\once \override Stem #'transparent = ##t
e'2
}

Thanks for listening.
Pete


PMA wrote:

Hi List.

With many multi-bar rests, my 10-staff StaffGroup in compilation
dies of segmentation fault. With each multibar rest replaced by
however many R1's, it dies still.

So I've now replaced every R1 with "s2 r2" (which compiles fine),
hoping next to tell Lilypond to *print* that centered "r2" as an r1.

But I don't see a way to persuade it. Is there a trick that would
accomplish this -- something akin to

\once \override Rest #'glyph = #"rests.0" r2

? (That fails, of course.)

Or, addressing the original problem -- is there a way to make
StaffGroup happy in the first place with multi-bar rests?

Thanks for any consideration.

Best regards,
Pete


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Re: Display "r2" as r1? -- SOLVED!

[PMA]

Xavier Scheuer wrote:

On 28 November 2011 15:56, PMA  wrote:

Here's my snake-oil function for the centered whole-rest.
In 4/4&  proportional notation, it's working like a charm!

REST = {
   s2
   \once \override NoteHead  #'stencil = #ly:text-interface::print
   \once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
   \once \override Stem #'transparent = ##t
   e'2
}



I still do not understand why you need to use such dirty hack!

If there is an issue with multibar rest that produces segmentation
fault, it is better to try to find what the issue is exactly and
correct it than use this tricky thing, at least it is my point of view.

Cheers,
Xavier


In principle I agree absolutely, especially as the problem will arise again
in less straightforward contexts.  But given an immediate priority, the
dirty hack means that my score is done.

Looking ahead re the cause of segmentation fault: in preparing each
staff's contents for inclusion in a StaffGroup, does LilyPond normally
expand all multi-bar rests and accommodate the R1's?

Thanks,
Pete


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Re: Display "r2" as r1? -- SOLVED!

[PMA]

Xavier Scheuer wrote:
...

REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
\once \override Stem #'transparent = ##t
e'2
}



I still do not understand why you need to use such dirty hack!

If there is an issue with multibar rest that produces segmentation
fault, it is better to try to find what the issue is exactly and
correct it than use this tricky thing, at least it is my point of view.

Cheers,
Xavier


Segmentation fault aside: If there is in fact a way to change a rest's
glyph directly without misrepresenting it to LilyPond as a notehead
instead and then changing *that*, I'll acknowledge the "dirty"-ness
(cluelessness, actually) of my hack.


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Re: Display "r2" as r1? -- SOLVED!

[PMA]

Francisco Vila wrote:

2011/11/29 PMA:

Xavier Scheuer wrote:
...


REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
\once \override Stem #'transparent = ##t
e'2
}




I still do not understand why you need to use such dirty hack!

If there is an issue with multibar rest that produces segmentation
fault, it is better to try to find what the issue is exactly and
correct it than use this tricky thing, at least it is my point of view.

Cheers,
Xavier



Segmentation fault aside: If there is in fact a way to change a rest's
glyph directly without misrepresenting it to LilyPond as a notehead
instead and then changing *that*, I'll acknowledge the "dirty"-ness
(cluelessness, actually) of my hack.


RESTR = {
\once \override Rest #'stencil = #ly:text-interface::print
\once \override Rest #'text = \markup { \musicglyph #"rests.2" }
r2
}


Aha!  I sit corrected.  Thanks, Francisco.   FYI, "#'text" after 
"\override Rest"
is what I could not find in either the Notation Reference or the 
Snippets List.


Pete

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Re: Display "r2" as r1? -- SOLVED!

[PMA]

James wrote:

Hello,

On 29 November 2011 15:59, PMA  wrote:

Francisco Vila wrote:


2011/11/29 PMA:


Xavier Scheuer wrote:
...


REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #"rests.0" }
\once \override Stem #'transparent = ##t
e'2
}





I still do not understand why you need to use such dirty hack!

If there is an issue with multibar rest that produces segmentation
fault, it is better to try to find what the issue is exactly and
correct it than use this tricky thing, at least it is my point of view.

Cheers,
Xavier




Segmentation fault aside: If there is in fact a way to change a rest's
glyph directly without misrepresenting it to LilyPond as a notehead
instead and then changing *that*, I'll acknowledge the "dirty"-ness
(cluelessness, actually) of my hack.



RESTR = {
\once \override Rest #'stencil = #ly:text-interface::print
\once \override Rest #'text = \markup { \musicglyph #"rests.2" }
r2
}



Aha!  I sit corrected.  Thanks, Francisco.   FYI, "#'text" after "\override
Rest"
is what I could not find in either the Notation Reference or the Snippets
List.


I can create a snippet but we don't tend to 'document' \overrides and
\tweaks in the Notation Reference directly and so add these as
snippets if they are likely to be not only useful but 'more than
likely' to be needed in 'a lot' of cases (at least that is my own take
on when we add snippets in the NR directly) else we could easily fill
the NR with snippet after snippet.

Otherwise you yourself can perhaps go to the LilyPond Snippet
Repository and create a log in and add your snippet there too.

http://lsr.dsi.unimi.it/

Le me know.


I think I should not be the one to enter this, tho, as it is not mine
but rather Francisco's (correcting my own scatterbrained hack).

Yes, a corresponding snippet might help -- or even just a comment
with an existing snippet that shows "#'stencil" & "#'text" overrides
for NoteHead, that this sequence can be applied to Rest as well.



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Re: Display "r2" as r1? -- SOLVED!

[PMA]

Carl Sorensen wrote:
...

Probably, in the learning manual, section 4.3.1 where it talks about
overriding
'stencil to #f and to 'point-stencil, we should also show an example of
setting it to text-interface::print, along with some discussion that any
grob can have its stencil set to text-interface::print.

Thanks,

Carl


Hear hear!


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Re: An easy way to convert from absolute to \relative?

[PMA]

David Kastrup wrote:

Father Gordon Gilbert  writes:


Hi all,

I have a number of pieces I entered quite a while ago (2.5.x, etc) in
absolute pitch -- being the easiest for me at the time.

But now I'd like to update them (2.15.x), and while convert-ly does a
good job of changing up the basic syntax, I'd like to know if there's
an easy way of getting rid of all the ' and , so the piece can be done
in \relative mode.  I did "search and replace" on one long piece,
which resulted in well over an hour's work fixing octaves.  Can this
be automated?


This appears on the feature list of the LilyPond editor Frescobaldi
http://frescobaldi.org>.

A solution within LilyPond itself would not really help as it would not
preserve the spacing of your input source.



In Linux at least, you could make the changes *and* preserve
your layout, by calling 'sed' against the .ly file to replace each
" ' " and " , " with a space.  something like

 cat .ly | sed "s/[',]/ /g" > FOO

(That's a guess.  Do check out FOO before copying it back in.)

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Re: An easy way to convert from absolute to \relative?

[PMA]

David Kastrup wrote:

PMA  writes:


David Kastrup wrote:

Father Gordon Gilbert   writes:


Hi all,

I have a number of pieces I entered quite a while ago (2.5.x, etc) in
absolute pitch -- being the easiest for me at the time.

But now I'd like to update them (2.15.x), and while convert-ly does a
good job of changing up the basic syntax, I'd like to know if there's
an easy way of getting rid of all the ' and , so the piece can be done
in \relative mode.  I did "search and replace" on one long piece,
which resulted in well over an hour's work fixing octaves.  Can this
be automated?


This appears on the feature list of the LilyPond editor Frescobaldi
http://frescobaldi.org>.

A solution within LilyPond itself would not really help as it would not
preserve the spacing of your input source.



In Linux at least, you could make the changes *and* preserve
your layout, by calling 'sed' against the .ly file to replace each
" ' " and " , " with a space.  something like

  cat.ly | sed "s/[',]/ /g">  FOO

(That's a guess.  Do check out FOO before copying it back in.)


I am afraid that converting to relative mode is more complex than that.


I didn't mean to imply that it would do everything -- just that, 
anticipating

inevitable adjustments, it would dependably/consistently "clear the deck".
This presumes of course that a clear deck would be helpful, as it was for
me in one such instance where the adjustments were easily/quickly then
entered by hand.  But you remind me, that may not be the case here.

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ISMLP/WIMA (?)

[PMA]

Hi List.

I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.

Most especialy, I'm wondering what regrets you may have
faced after agreeing to the diluted copyright protections.

Thanks in advance.
Pete
.


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Re: ISMLP/WIMA (?)

[PMA]

P.S.  By "scores" I mean only PDFs (not also their .ly sources).

PMA wrote:

Hi List.

I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.

Most especialy, I'm wondering what regrets you may have
faced after agreeing to the diluted copyright protections.

Thanks in advance.
Pete



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Re: ISMLP/WIMA (?)

[PMA]

P.S.  Selling is not an issue.

PMA wrote:

Thanks for your response.  But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on my head.


Francisco Vila wrote:

2012/1/16 PMA:

P.S. By "scores" I mean only PDFs (not also their .ly sources).


Publish the sources along the scores. Without the sources the user can
not adapt/customize the result, can not study how are they made and
nobody learns a bit. Your work is yours and you deserve attribution,
but unless you plan to sell them as a closed product, in my humble
opinion that would be very good.


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Re: ISMLP/WIMA (?)

[PMA]

Thanks for your response.  But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed.  Naturally, unrealized scoring
improvements will remain on my head.


Francisco Vila wrote:

2012/1/16 PMA:

P.S.  By "scores" I mean only PDFs (not also their .ly sources).


Publish the sources along the scores. Without the sources the user can
not adapt/customize the result, can not study how are they made and
nobody learns a bit.  Your work is yours and you deserve attribution,
but unless you plan to sell them as a closed product, in my humble
opinion that would be very good.


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Re: ISMLP/WIMA (?)

[PMA]

Oh -- all *my* compositions.  Sorry, I should have thought to specify this.

Shane Brandes wrote:

Do you mean by your scores? your compositions or your typesetting of
other's compositions?

Shane

On Mon, Jan 16, 2012 at 9:00 PM, PMA  wrote:

P.S.  Selling is not an issue.


PMA wrote:


Thanks for your response.  But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on my head.


Francisco Vila wrote:


2012/1/16 PMA:


P.S. By "scores" I mean only PDFs (not also their .ly sources).



Publish the sources along the scores. Without the sources the user can
not adapt/customize the result, can not study how are they made and
nobody learns a bit. Your work is yours and you deserve attribution,
but unless you plan to sell them as a closed product, in my humble
opinion that would be very good.



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Re: ISMLP/WIMA (?)

[PMA]

Francisco Vila wrote:

2012/1/17 PMA:

Thanks for your response.  But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed.  Naturally, unrealized scoring
improvements will remain on my head.


But nobody but you can do those improvements. People will want to
print it in landscape, bigger font size, less pages, piano
reductions... and they couldn't because it is no more than a piece of
paper you can photocopy at most.

And your work will be more widespread if it is open, too, because it
has an added value.


Specifically, most of these scores _are_ for solo piano.  But all of them
embody formatting choices that folks tend to consider alterable -- that
I instead emphatically want *not* tampered with.

So at least for starters, I'll go with the "no more than a piece of paper"
scenario.  If this stance later comes back to haunt me, I'll (remember
your warning and) reconsider adding the .ly files.

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Re: ISMLP/WIMA (?)

[PMA]

David Kastrup wrote:

PMA  writes:


Oh -- all *my* compositions.  Sorry, I should have thought to specify
this.


Well, you said you don't care about royalties.  So apparently what you
do care about is artistic integrity.  The question is how you can
achieve your goals while providing a maximum of usefulness to others.

First you need to note that your artistic integrity is not preserved by
hiding the source code.  If anybody is interested in plagiarizing your
work, he can just scan and retypeset it.  The only thing that prevents
this is using a suitable license for _all_ forms of the work, including
the PDF.  I don't know the usual artistic licenses, but even a license
intended for pure program code like the GPL has a clause:

   5. Conveying Modified Source Versions.

   You may convey a work based on the Program, or the modifications to
 produce it from the Program, in the form of source code under the
 terms of section 4, provided that you also meet all of these conditions:

 a) The work must carry prominent notices stating that you modified
 it, and giving a relevant date.

The GFDL (a document license) states:

   4. MODIFICATIONS

  You may copy and distribute a Modified Version of the Document
  under the conditions of sections 2 and 3 above, provided that you
  release the Modified Version under precisely this License, with
  the Modified Version filling the role of the Document, thus
  licensing distribution and modification of the Modified Version to
  whoever possesses a copy of it.  In addition, you must do these
  things in the Modified Version:

A. Use in the Title Page (and on the covers, if any) a title
   distinct from that of the Document, and from those of
   previous versions (which should, if there were any, be listed
   in the History section of the Document).  You may use the
   same title as a previous version if the original publisher of
   that version gives permission.

B. List on the Title Page, as authors, one or more persons or
   entities responsible for authorship of the modifications in
   the Modified Version, together with at least five of the
   principal authors of the Document (all of its principal
   authors, if it has fewer than five), unless they release you
   from this requirement.

C. State on the Title page the name of the publisher of the
   Modified Version, as the publisher.

D. Preserve all the copyright notices of the Document.

E. Add an appropriate copyright notice for your modifications
   adjacent to the other copyright notices.

F. Include, immediately after the copyright notices, a license
   notice giving the public permission to use the Modified
   Version under the terms of this License, in the form shown in
   the Addendum below.

G. Preserve in that license notice the full lists of Invariant
   Sections and required Cover Texts given in the Document's
   license notice.

H. Include an unaltered copy of this License.

I. Preserve the section Entitled "History", Preserve its Title,
   and add to it an item stating at least the title, year, new
   authors, and publisher of the Modified Version as given on
   the Title Page.  If there is no section Entitled "History" in
   the Document, create one stating the title, year, authors,
   and publisher of the Document as given on its Title Page,
   then add an item describing the Modified Version as stated in
   the previous sentence.

J. Preserve the network location, if any, given in the Document
   for public access to a Transparent copy of the Document, and
   likewise the network locations given in the Document for
   previous versions it was based on.  These may be placed in
   the "History" section.  You may omit a network location for a
   work that was published at least four years before the
   Document itself, or if the original publisher of the version
   it refers to gives permission.

K. For any section Entitled "Acknowledgements" or "Dedications",
   Preserve the Title of the section, and preserve in the
   section all the substance and tone of each of the contributor
   acknowledgements and/or dedications given therein.

L. Preserve all the Invariant Sections of the Document,
   unaltered in their text and in their titles.  Section numbers
   or the equivalent are not considered part of the section
   titles.

M. Delete any section Entitled "Endorsements".  Such a section
   may not be included in the Modified Version.

N. Do not retitle any 

Re: ISMLP/WIMA (?)

[PMA]

David Raleigh Arnold wrote:

On Sun, 2012-01-15 at 20:26 -0500, PMA wrote:

Hi List.

I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.


Make sure your midi, if any, has a copyright notice. Lilypond does
not put one in the midi file (for shame), so you have to enter one
directly or reedit converting to midge or some such.

Do not license or grant any rights at all. Why would
you want to do that?

Regards, daveA


Your last sentence here hits on *the* issue in my original post.
Why indeed would I...?   But it seems that, to post on ISMLP/
WIMA, one *must* commit to public-domain-like status.

I would like, of course, to find a (major, well run) public archive
without such constraints.


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Re: ISMLP/WIMA (?)

[PMA]

Thanks Hans.  As I (don't really) understand, ISMLP requires
a contributor of copyrighted materials to agree to their being
licensed *as* public domain.

Obviously for a clear view, I've got more homework ahead


Hans Aberg wrote:

On 16 Jan 2012, at 02:26, PMA wrote:


I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.

Most especialy, I'm wondering what regrets you may have
faced after agreeing to the diluted copyright protections.


Above all, make sure to keep your copyright. But if you will put it up in 
public, it will be downloaded and probably redistributed as though being in 
public. You still retain the copyright though, and can formally control 
commercial redistribution.

In the USA and Sweden there is no legal requirement having a copyright notice 
anymore, though it clarifies. If you want to grant permissions, that is 
expressed through a license. You might have look at this link:
  https://en.wikipedia.org/wiki/Creative_Commons

Hans





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Re: ISMLP/WIMA (?)

[PMA]

Francisco Vila wrote:

2012/1/17 PMA:

David Raleigh Arnold wrote:


On Sun, 2012-01-15 at 20:26 -0500, PMA wrote:


Hi List.

I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.



Make sure your midi, if any, has a copyright notice. Lilypond does
not put one in the midi file (for shame), so you have to enter one
directly or reedit converting to midge or some such.

Do not license or grant any rights at all. Why would
you want to do that?

Regards, daveA



Your last sentence here hits on *the* issue in my original post.
Why indeed would I...?


I suspect he was being ironical.


But it seems that, to post on ISMLP/
WIMA, one *must* commit to public-domain-like status.


Only public domain is public domain. Attribution licenses grant you
attribution rights. Other clauses grant other rights. Also: no source
code = no way to tamper with. So why bother? Or, on the contrary, why
not watermark every notehead so that you make it non-photocopyable?
Why not forbid your pieces to be played in public as 'Alice in
Wonderland' is? Why not DRM, or even better, why to publish them at
all? Give it hand to hand in a pendrive or CD-ROM to the very person
you want him to have it and done.

Look: in another thread an user has posted a torrent to a hack to a
Windows closed/proprietary/copyrighted/sold for money program. It is
not authorized. Its license does not allow to do that. But people will
copy and install it anyway and there is very little you can do about
that except to sue nearly every man/woman/child on earth.

Of course it is your right and this is only my opinion, but for sure
if I were you I would not publish it in a public place and at the same
time pretend people _not_ to do things with it.


What I want -- irony and caricature aside -- is to have my finished scores
accessible, freely available for download & performance, and meanwhile
reasonably protected from desecration.  From your words I gather that,
with regard to any public site, this a transparent pipedream.  Correct?

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Re: ISMLP/WIMA (?)

[PMA]

Xavier Scheuer wrote:

On 17 January 2012 21:02, PMA  wrote:


Your last sentence here hits on *the* issue in my original post.
Why indeed would I...?   But it seems that, to post on ISMLP/
WIMA, one *must* commit to public-domain-like status.


I wish that was true!!

As a Free Culture supporter I hope one day these more and more
restrictive and always longer copyright laws will be "re-equilibrated".
Copyright "protection" does not *effectively* protect the author, but
rather ensure a huge money income to a few, referred as "majors" or
"publishers", *living on the back* of these authors (which, most of them,
usually are all but rich).

Do people really realize that copyright "protection" lasts almost a
century *after the death of the author* ?!

I am referring to "Free Culture" as in "Free Software", which means
allowing everyone to copy, modify, redistribute and share the culture.
http://en.wikipedia.org/wiki/Free_culture_movement
http://freedomdefined.org

So I wish IMSLP would contain and accept *only* "public-domain-like"
(or free as defined above) materials.  But it is not true.
If you read carefully the guidelines to contribute works on IMSLP, you
will see that Permitted Licenses for Original or Copyrighted
Compositions include all the Creative Commons licenses, even the ones
forbidding commercial use or modifications, but also the totally
restrictive "Performance Restricted Attribution Non-commercial No
Derivatives 1.0 (pr-by-nc-nd)" license, that forbid actually almost
every use of the work.
http://imslp.org/wiki/IMSLP:Creative_Commons_and_Performance_Restricted_licenses

I was first pleased to see WIMA merge with IMSLP but then I was sad when
I saw that IMSLP made an exception and additionally allow the CC-NC and
CC-NC-SA licenses even for (Re)Typesets of *public domain works* !
http://icking-music-archive.org/IMSLP/IMSLP.php



I would like, of course, to find a (major, well run) public archive
without such constraints.


So you want volunteers to provide YOU *free of charge* public archive
but you are not willing to grant anyone a single right to use the work
you post on such site?

Hopefully people who invented/use free licenses, for cultural works for
instance, or people developing/contributing to free softwares such as
GNU/Linux or… LilyPond did not think the same way!

Cheers,
Xavier


As I said in the just-previous email, I want to allow free download and
performance.  ISMLP had been described to me as analogous to a library,
to which I might contribute for such use.  Clearly, if this really just 
means

expecting volunteers to serve me free of charge, then I've gotten the
wrong idea.

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Re: ISMLP/WIMA (?)

[PMA]

Jay Anderson wrote:

On Tue, Jan 17, 2012 at 5:54 PM, PMA  wrote:

Thanks Hans.  As I (don't really) understand, ISMLP requires
a contributor of copyrighted materials to agree to their being
licensed *as* public domain.


IMSLP allows submission of items in the public domain and items under
a creative commons license. Allowed licenses listed here:
http://imslp.org/wiki/IMSLP:Creative_Commons_and_Performance_Restricted_licenses

-Jay


Thanks Jay.  All my scores are under regular U.S. copyright.
I need to get clearer re ISMLP's requirements on that basis.

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Re: ISMLP/WIMA (?)

[PMA]

David, Hans, Chris --

These are the perspectives I need.
Thanks for your patience!

Pete


David Kastrup wrote:

PMA  writes:


Jay Anderson wrote:

On Tue, Jan 17, 2012 at 5:54 PM, PMA   wrote:

Thanks Hans.  As I (don't really) understand, ISMLP requires
a contributor of copyrighted materials to agree to their being
licensed *as* public domain.


IMSLP allows submission of items in the public domain and items under
a creative commons license. Allowed licenses listed here:
http://imslp.org/wiki/IMSLP:Creative_Commons_and_Performance_Restricted_licenses

-Jay


Thanks Jay.  All my scores are under regular U.S. copyright.


Sure, and that does not change (well, not until you have been dead for
90 years).  The question is what use you make of your copyright.  You
can license it at any point of time under any licenses you consider fit.
You just can't retract the licenses of copies you already distributed
(even if they contain permission to create further copies licensed in
the same way) but of course you can pick a different license for new
copies you distribute, whether they are changed or unchanged in
comparison to previous copies.

So it is always possible to go from more restrictive licensing to more
permissive licensing.  The other direction is more complex.  I prefer
copyleft licenses which essentially allow somebody to turn a profit only
when he is better at marketing freely available material than I am
(commercial GNU/Linux distributions tend to live in that very narrow
space).


I need to get clearer re ISMLP's requirements on that basis.


I think that the "Creative Commons" licenses should be compatible with
U.S. laws.

Yes, I'd prefer living in a simpler world, too.



David, Hans, Chris --

These are the perspectives I've needed.
Thanks for your patience!

Pete




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Re: ISMLP/WIMA (?)

[PMA]

PMA wrote:

David, Hans, Chris --

These are the perspectives I need.
Thanks for your patience!

Pete


...


David, Hans, Chris --

These are the perspectives I've needed.
Thanks for your patience!

Pete


Sorry, forgot to erase my top-post after copying it to the bottom.

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