Re: Dashed horizontal bracket

[Robert Schmaus]

Hi Francesco,

try adding

\layout {

  \context {
\Voice
\consists "Horizontal_bracket_engraver"
  }

}

Best,
Robert


Am 10/20/12 12:36 PM, schrieb Francesco Spiga:

Hi everyone,
I should need a dashed horizontal bracket.

I have tried with

\override HorizontalBracket #'style = #'dashed-line
g1\startGroup f1\stopGroup

but it does not work.

Has someone any suggestion?

Thanks in advance!
F.



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Scheme for verbatim display of ly:music argument

[Robert Schmaus]

Dear all,

I'd like to create a scheme function with one ly:music argument which 
does the following: insert the music expression at the current place and 
display the source code (ie the argument passed to the function) 
verbatim above the respective place in the score.

And I need to use that in a ChordNames context.

Thus, I'd like to have the following:

<<
\new ChordNames {
\chordmode{  \fn{ c1:7.5+ } \fn{ c1:maj7.9 }  }
}
>>

should produce something like

c1:7.5+c1:maj7.9
C7(#5)   | Cmaj9


Just passing the music expression is easy:

fn = #(define-music-function (parser location myChord) (ly:music?)
#{
$myChord
#}
)

Is it possible to add a markup part to display myChord verbatim?

Thanks in advance!
Best,
Robert

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Re: Scheme for verbatim display of ly:music argument

[Robert Schmaus]

Am 10/22/12 7:42 PM, schrieb David Kastrup:

Robert Schmaus  writes:


Dear all,

I'd like to create a scheme function with one ly:music argument which
does the following: insert the music expression at the current place
and display the source code (ie the argument passed to the function)
verbatim above the respective place in the score.
And I need to use that in a ChordNames context.

Thus, I'd like to have the following:

<<
\new ChordNames {
\chordmode{  \fn{ c1:7.5+ } \fn{ c1:maj7.9 }  }
}




should produce something like

c1:7.5+c1:maj7.9
C7(#5)   | Cmaj9


Just passing the music expression is easy:

fn = #(define-music-function (parser location myChord) (ly:music?)
#{
$myChord
#}
)

Is it possible to add a markup part to display myChord verbatim?


Tricky.  You can use \displayLilyMusic (or its Scheme equivalent) for
recreating a representation of the input, but it will not in general be
the same as your input.

Alternatively, you can try harvesting the location argument for reading
the actual source file via

  -- Function: ly:input-both-locations sip
  Return input location in SIP as `(file-name first-line
  first-column last-line last-column)'.

but this depends on the function argument being in a more or less direct
rather than a computed form.

Another possibility is to pass a string into the function in the first
place and then use it both as a markup string as well as running one of
the string-interpreting functions on it for getting interpretation from
LilyPond.



Hi David,

thanks for the quick reply!

I think the third possibility is the one for me (because, frankly, don't 
think I understand the second one, and the first one is indeed not what 
I'm looking for).


I looked for information on those string-interpreting functions in the 
online docs and found this (at 
http://lilypond.org/doc/v2.15/Documentation/notation/scheme-functions):


---
Function: ly:parse-string-expression parser-smob ly-code filename line
Parse the string ly-code with parser-smob. Return the contained music 
expression. filename and line are optional source indicators.

---

That looks about right ... but I have no idea how to use it, and cannot 
find anything about that in the documentation. Where would I have to look?


Thanks!
Robert

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Percent_repeat_engraver in ChordNames context - double bar repeats?

[Robert Schmaus]

Dear Lilypond community,

I have successfully used the Percent_repeat_engraver in a chordnames 
context if the "\repeat percent" argument consists of a single bar , e.g.


changes = \chordmode{
  \repeat percent 4 { g1 : maj7 }
}

\score{
\new ChordNames \changes
}
\layout{
\context { \ChordNames \consists "Percent_repeat_engraver" }  
}


works fine.

However, using a two-bar chord pattern doesn't print the two-bar percent 
symbol, i.e.


changes = \chordmode{
  \repeat percent 4 { g1 : maj7 | d1 : min7  }
}

\score{
\new ChordNames \changes
}
\layout{
\context { \ChordNames \consists "Percent_repeat_engraver" }  
}

doesn't work.

Is this intentional?

Cheers,
Robert


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Re: Percent_repeat_engraver in ChordNames context - double bar repeats?

[Robert Schmaus]

Hi Xavier,

works like a charm! Thanks a million.

This comes from google-ing and not noticing that one is looking at old 
references, in this case


http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Percent_005frepeat_005fengraver

which claims, that the double bar percent symbol is part of the 
Percent_repeat_engraver.


Cheers,
Robert





Am 11/30/12 10:12 AM, schrieb Xavier Scheuer:

Hi,

Try "Double_percent_repeat_engraver".

Cheers,
Xavier




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Re: Lyrics

[Robert Schmaus]

Hi Maarten,

try to create an (invisible) Devnull Staff that also gets the chords as
musical content, and name that Devnull Staff (eg "inv"). Then assign the
lyrics to inv instead of upper.

Like this:


melody = \relative c' {
   \repeat unfold 20 {c}
}

text = \lyricmode {
 ta ta ta ta ta
}

harmonies = \chordmode {
  c1
  aes1
  bes1
  d1
  f1
}

\score {
 <<
 \new Devnull = "inv" {
   \harmonies
 }
 
 \new ChordNames {
 %\set chordChanges = ##t
 \harmonies
 }

 \new Voice { \melody }

 \new Lyrics \lyricsto "inv" \text
 >>
 \layout { }
}


To be honest, I was surprised that you could name a Devnull context, but
... there it is...

Hope that helps,
Robert


On Tue, Dec 11, 2012, at 02:01 PM, Maarten de Keijzer wrote:

Hi,

I am trying to create a sheet for choir accompaniment, and have
arranged chord names above the pianostaff with my own notes.
Now I want to add the choir lyrics to the (partly empty) bars to better
be able to deal with rests.

I tried this, but Lilypond complains on not finding ‘upper’ or ‘chd’.


\score {

   <<

 \new ChordNames \chd

 \new Lyrics \lyricsto "upper" \lyr

 \new Staff <<

   \new Voice = "upper" \upper

 >>

 \new Staff <<

   \new Voice = "lower" \lower

   \clef bass

 >>

   >>

}


What would be the best method to have the lyrics related to the chords,
not to ‘my music’?


-- Maarten

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1. mailto:lilypond-user@gnu.org
2. https://lists.gnu.org/mailman/listinfo/lilypond-user

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Re: Lyrics

[Robert Schmaus]

You can put the syllables you would like to be treated as a single
syllable in quotes, e.g. 

text = \lyricmode{ "ta ta ta" la la }

That will treat the first "ta ta ta" as a single syllable ... 


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Re: Lyrics

[Robert Schmaus]

I see two options:


1) Instead of using \chd with your proper chords in it, you could just 
create a dummy chord voice like


dummy = \chordmode { \repeat unfold n  { c1 } }

and use that to associate the Lyrics Staff with. That way you definitely 
have one "stop" per measure.


I don't really get that problem of non-aligned measures with the text. 
It works nicely with Lily 2.16.0. Except of course if a text passage is 
already too long to fit in a whole line, but I don't see how this is a 
Lilypond problem.
Apparently, you still need to use chordmode for that dummy line - it 
didn't work otherwise here.



2) Someone else can suggest a better approach than mine (that's not 
unlikely - I have used Lilypond for quite a while now, but always for 
rather basic stuff like Jazz Leadsheets).
Also, when I tried out my solution, I wasn't at my own computer but used 
the online editor Lilybin instead ... now that I'm back at my machine, I 
see that my approach works, but produces many warnings on the console - 
so it'd be probably even a good idea if someone else did suggest a 
different approach ...








Am 12/12/12 9:37 AM, schrieb Maarten de Keijzer:

Thanks,
With the following 'script' and syllables enclosed by "" I get a score
including the text:

\score {
<<
\new Devnull = "inv" { \chd }
\new ChordNames {
\set chordChanges = ##t
\chd
}
\new Staff <<
\new Voice = "upper" \upper
>>
\new Staff <<
\new Voice = "lower" \lower
\clef bass
>>
\new Lyrics \lyricsto "inv" \text
>>
\layout { }
}

However, the text is related to chord changes, and I would prefer just
textparts per measure.
Can that be fixed with some other mode?
Also, the measures are not adjusted to the text, so some parts of the text
don´t align (even outside the paper).
Is there a setting to fix that?

-- Maarten


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Re: New user - I have an lone treble clef/extra staff

[Robert Schmaus]

Hi Jon? (or ist it p?),

> I'm a beginner so ANY help is greatly appreciated - thx - p

the best advice anyone could give you in this case is to work through
that:
http://lilypond.org/doc/v2.16/Documentation/learning/index.html

You won't have a lot of fun if you're trying to use lilypond without
knowing much (or anything, if I understood you right ..) about it ...
and it doesn't take very long to understand the basics covered in there.
AND you'll be able to write much better ly files - that sequencer source
code looks kinda horrible to me ...

Best,
Robert

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Re: add9 chords

[Robert Schmaus]

> Hi Bart,
> 
> Lily's behaviour is quite correct. c:9 will produce a c major triad plus the 
> ninth, ie  ... that's an add9 chord. A proper ninth chord is  bf d'>, ie a stack of thirds. Thus, you'll need c:7.9 for a 9 chord. You can 
> check it out if you put your chords in an ordinary Staff to see the notes. 
> 
> Best, Robert 
> 
> 
> 
> On 6 Feb 2013, at 13:40, bart deruyter  wrote:
> 
>> Hi all,
>> 
>> I've searching for a way to add 'add9' chords to my own version of 
>> predefined fretboards, but whatever I do, it does not accept it and doesn't 
>> render it. I think the system doesn't allow 'add9' as chordname, because 
>> when I change it to '9', like 'c:9' it does render.
>> 
>> How can I solve this? I'm using both 9 and add9 chords for my guitarbook, 
>> and do need both, so using c:9 to describe c:add9 is quite confusing. 
>> I know I can modify chordnames, and in the chordnames I can get c:add9, but 
>> not in the fretboards. I do need the fretboards for these chords, it is a 
>> teaching book and I don't want to break the consistency.
>> 
>> Grtz,
>> 
>> Bart
>> 
>> 
>> http://www.bartart3d.be/
>> On facebook
>> On Twitter
>> On Identi.ca
>> On Google+
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Re: add9 chords

[Robert Schmaus]

Hi Bart,

> - c:9 produces a C9, including the seventh, (sorry Robert Schmaus, I just
> tested it)

Oh ... I think there have been some changes from the previous stable
version (2.14) then. I had the problem that I could *not* produce 11 or
9 chords - I always got the "add9" or "add11" version, until somebody
informed me that I need to specify the full chord, including the 7.
Now (in version 2.16 and 2.17), we have 

* c : 9 produces  and the chord name is C9
* c : 7.9 produces the same
* c : 9^7 produces  (but the chord name still is C9 - you can
check this on http://lilybin.com/jtiz8e/1 )

I liked the old way better. Sure, it's cumbersome to write c : 7.9.11.13
for a 13 chord, but at least there was full control over the chord.
At the very least, c : 9^7 should not be called C9. And, again, it used
to be that way in previous versions.

Best, 
Robert

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Console warning "rhythmic head is not part of a rhythmic column"

[Robert Schmaus]

Hi everybody,

I've created a new context using & slightly changing the example given 
in 
http://lilypond.org/doc/v2.16/Documentation/notation/defining-new-contexts
The code works in principle - however, I get a warning "rhythmic head is 
not part of a rhythmic column" for each note within that context. 
Actually, the same warning appears when I compile that example from the 
documentation.


Is this something I just have to live with or is there something I 
can/should do to prevent those warnings?


I'm running Lilypond v2.16.0 on Mac OS 10.7.

Cheers, thanks, and have a nice sunday,
Robert



PS: Here's the code from the documentation, so you don't have to copy it 
together again:



\version "2.16.0"

fragment = \relative c'' {
  a4 d8 bes8
  \new ImproVoice {
c4^"ad lib" c
c4 c^"undress"
c c_"while playing :)"
  }
  a1
}


\score {

\new Staff \new Voice \fragment 

\layout{
\context {
  \name ImproVoice
  \type "Engraver_group"
  \consists "Note_heads_engraver"
  \consists "Text_engraver"
  \consists "Pitch_squash_engraver"
  squashedPosition = #0
  \override NoteHead #'style = #'slash
  \override Stem #'transparent = ##t
  \override Flag #'transparent = ##t
  \alias Voice
}
\context {
  \Staff
  \accepts ImproVoice
}
}
}

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Re: Console warning "rhythmic head is not part of a rhythmic column"

[Robert Schmaus]

Hi Eluze,

> the Rhythmic_column_engraver seems missing - if you add it
>
> \consists "Rhythmic_column_engraver"
>
> is your output correct and you get rid of the warnings?

That works like a charm! Thanks a million!

Best,
Robert

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Re: Console warning "rhythmic head is not part of a rhythmic column"

[Robert Schmaus]

> please always answer to the list, so everybody can follow what's going on!


I know - and I usually do (that's why I've re-sent my answer to the list right 
away). I seem to belong to that fraction of list contributors who struggle with 
the concept of "clicking 'Reply' replies to the sender only". I know I'm not 
alone ...


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Re: Don't engrave measure symbol

[Robert Schmaus]

I want to do a staff without the measure symbol like above:

http://www.lilypond.org/doc/v2.15/Documentation/source/Documentation/essay/building-software#music-representation

I am using 2.14 lilypond.



Hi Savio,

those examples in the documentation can be clicked - they will then 
reveal their source code. So, if you would like to use a certain example 
from the documentation, click on it and check out that code. Best way to 
learn, too!


Just make sure that you are either using a documentation that either 
belongs to your Lilypond version or (even better) upgrade to the latest 
stable version.


Best,
Robert

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Re: Ottava bracket

[Robert Schmaus]

Just a thought: 
You can have a Staff (or Voice) accept ChordNames. If you managed to do
something like this

\new Staff <<
  \new Voice \chords
  \new Voice \melody
>>

where the melody voice is (a copy of) the voice containing the ottavas,
and then make all staff symbols and the melody voice transparent, you
might be there. However, let me also be the first to point out that this
solution would be (a) extremely ugly and (b) completely un-LilyPondish.


On Tue, Mar 5, 2013, at 02:50 PM, Noeck wrote:
> 
> 
> > 
> > I'm guessing you need to \consist only the top Staff context, and set the 
> > #'outside-staff-priority appropriately.
> > 
> > Hope this helps!
> > Kieren.
> > 
> 
> I don't think, this will work, because the top line is not a staff but
> ChordNames and I did not get this to work. I already tried the
> outside-staff-priority, but this would help if it was about the priority
> of staff associated items, but the chords are not part of this staff.
> 
> Cheers,
> Joram
> 
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Calibration of Midi Output

[Robert Schmaus]

Hi everyone,

I'm looking for a command to calibrate the Midi output to (e.g.) a' = 
442 Hz. Does anyone know if that is possible at all?


Thanks & greetings,
Robert

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Re: Calibration of Midi Output

[Robert Schmaus]

Hi Shane,

that's quite possible, and surely the reason there's nothing to be found 
on the subject.


Thanks for your suggestions, I will look at these!

Best,
Robert


Am 3/6/13 10:10 PM, schrieb Shane Brandes:

Ought that not to be the midi players responsibility? I would use
something like Scala and Timidity++ to do that.

Shane

On Wed, Mar 6, 2013 at 2:12 PM, Robert Schmaus  wrote:

Hi everyone,

I'm looking for a command to calibrate the Midi output to (e.g.) a' = 442
Hz. Does anyone know if that is possible at all?

Thanks & greetings,
Robert

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Re: Proposed new available and recommended behavior of \relative

[Robert Schmaus]

Hi everyone,

I haven't read all posts on this subject, so sorry should I write
something that's already been written.
Why not keep the \relative  {  } syntax as one supported
way and simply change the \relative {  } syntax to what David
proposed? I myself have always only used the first version (I didn't
even know the other existed, to be honest), andI liked the idea of
having a lever outside the music that shifted the music ocave-wise. 

Or, as an alternative, the \relative {  } syntax could rely on
music that was written *before* the relative block. That way, one would
avoid the awkwardness of explaining that the first note in the \relative
block is actually absolute. It just says that everything in the relative
block is, well, relative to what was before (if anything) or a default
(like c') otherwise. That also makes sense semantically.

Thus, the proposed syntax of 

\relative { r4 a'' a f c } 

where a'' is absolute would become 

r4 a'' \relative{ a f c }

Quite readable ...
Best,
Robert

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Re: midi micro tuning / Midi calibration

[Robert Schmaus]

Hi Arthur & Timothy,

> You've brought up a good question.  Sounds like you may do "Early Music",
> too.  

Thanks! Although I have to admit, that my music only goes as early as
the Swing Era - Big Bands usually are tuned to 442 as it fits the brass
better. I'm merely looking for a way to avoid tuning my double bass if I
want to use midi-practice-files.


> Midi, itself, is tuned in 440 and equal.  However, there's a function
> known as "pitch bend" in midi parlance,  that works on some, but not all,
> midi instruments.  There are many midi editors out there (do a search), 
> and I just installed a good one in Linux but haven't had a chance to test
> it for pitch bend.  However, what you can get depends a lot  on what kind
> of operating system you're using.

I was sort of amazed - Midi being such a simple (so I imagined) format,
I thought that the calibration to 440 should be a mere variable, easy to
be adjusted. There's always more to it than it seems ...


On Wed, Mar 6, 2013, at 11:42 PM, Timothy Reeves wrote:
> ...and if those don't do it, Audacity certainly will, once you've
> converted
> the midi file to an audio file.

That's an excellent idea, actually, thank you! Ultimately, I will need
the music as mp3 anyway, for my stereo to play it. 
I didn't know Audacity could import Midi - I'll try that out asap (i.e.
next week, sigh). 

Thanks everyone for their help and suggestions! 
Best,
Robert

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Re: Proposed new available and recommended behavior of \relative

[Robert Schmaus]

On Fri, Mar 8, 2013, at 09:06 AM, David Kastrup wrote:
> Robert Schmaus  writes:
> 
> > Hi everyone,
> >
> > I haven't read all posts on this subject, so sorry should I write
> > something that's already been written.
> > Why not keep the \relative  {  } syntax as one supported
> > way and simply change the \relative {  } syntax to what David
> > proposed?
> 
> Uh, that was the plan anyway.  The question was rather whether we should
> convert to using the second form preferably in documentation and
> examples.

Oh, sorry, I interpreted your remark from an earlier mail ("But when
upgrading, convert-ly will convert it to the form without explicit pitch
if it can.") in that way, that the \relative  {  } is
planned to disappear ultimately.


> > I myself have always only used the first version (I didn't even know
> > the other existed, to be honest), and I liked the idea of having a
> > lever outside the music that shifted the music ocave-wise.
> 
> \transpose c c'' is such a lever.

I have thought of that too - it's just that transposition for me is
something I'd apply to a complete score in concert pitch e.g. to produce
a music sheet for Bb instruments. Something that comes after the actual
music writing process - in my understanding anyway. Of course, one can
use any command in lilypond however one sees fit ...


> > Or, as an alternative, the \relative {  } syntax could rely on
> > music that was written *before* the relative block.
> 
> That one is not an actual alternative.
> 
> xxx = \relative { c d e f g }
> yyy = \relative { c d e f g }
> 
> \new Voice { \yyy \xxx }
> 
> Now what is the music "written before the relative block"?  The whole
> point of \relative is that it returns absolute music given relative
> music.  You propose it should return relative music given relative
> music.  But how would music then become absolute?

It would, if there's either a default (pitch) for \relative { ... } with
no music before it. Or if the compiler gives an error if a user were to
write something like your example. After all, it's always up to the
typesetter to write something that makes sense.


> Making this proposal work in a sensible and predictable
> manner would be quite harder than it might appear.

There are probably not many persons who would know this better than you
do ... and I don't think that any of what lilypond can produce is quite
as easy as it appears! Each time I use it, I am amazed by something new!

Best,
Robert

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Re: Pseudo-handwritten font

[Robert Schmaus]

Hi Torsten,

first of all: This looks just amazing! Thanks for sharing it!
Even though I like LilyPond's original typesetting a lot, I noticed that
sheets get more difficult to read in certain lighting conditions (I
assume you are a jazz musician as well and know what I mean ...).
Especially for those, who have to play actual notes (in contrast to guys
like me who mainly need the chords). This somewhat more "massive" look
of the written music should be easier to read in murky stage light. 

The same, of course applies to ChordNames - right now, I combine your
work with a jazzy font found here:
https://sites.google.com/site/jpgzic/
You probably know that one ...

I'm looking forward to further versions! I'm probably not of much use in
helping you to create those, but if I can do anything to help in testing
&c, I'd be happy to! Most of what I write are jazz lead sheets anyway
...

Best,
Robert



On Thu, Mar 14, 2013, at 11:36 AM, Torsten Hämmerle wrote:
> Hello all,
> I've just noticed the my last mail didn't get through to the list for
> some reason. Well, here it is again in a second attempt:
> In the first place: I've attached a zip file containing the current
> (albeit unfinished) versions of the LilyJAZZ music and LilyJAZZ Text
> font plus the corresponding LilyJAZZ.ily include.
> As an example to demonstrate what's already there (well, I missed grace
> notes/acciaccaturas/appoggiaturas) there's a PDF file for all those
> who'd like to take a look at the result without having to install
> anything.
> At any rate, the whole LilyJAZZ issue shall be open and free (just like
> Lilypond), so I first had to create my own fonts in order to become
> independent of commercial ones.
> It's (still) a preliminary version, many things are missing (spanners
> like trill-span, repeat bar lines, multi measure rests, ...), but you
> can use clefs, key signatures, time signatures, accidentals, note heads
> and flags, articulations, dynamics. And: there is a LilyJAZZ Text font
> included. Most characters should be there (including accented
> characters for German/French/Italian etc. texts).
> I know that a chord font is indispensable for all virtually any jazz
> application, especially lead sheets, but I'll keep it separate first
> for several reasons (I'll get back to this soon).
> BUT: Even if all this may be quite an ambitious task, I just started
> off to see what's possible and how Lilypond behaves in a jazz context.
> Fortunately, the results look quite encouraging. :)
> So finally: what have I done and why?
> The main obstacle is the rigid way Lilypond handles its (her, his?)
> internal music font. I deliberately decided to stick to an "ordinary"
> OTF/TTF font first to learn how to use external fonts (who knows what
> it's good for) and my metafont phase of life dates back to the last
> millennium.
> In the meantime, most of the characters have been re-drawn manually
> from scans of the well-known Sigler fonts FontForge, a few still have
> been created using FontForge's tracing functionality. It should be
> enough for experimenting and getting an impression, though.
> To match the overall appearance of the jazz font, I've slightly
> (perhaps too much...) increased the stem, beam, tie, slur, and bar line
> thickness. Nothing fancy about.
> Currently, the "LilyJAZZ mode" can be switched on using the \jazzOn
> command and it can (almost) be switched off again using \jazzOff. This
> has proved most helpful in this early stage when comparing/checking
> spacing against the standard.
> Some technical background for those interested in the scheme coding.
> Unforunately, I'm fairly new to scheme, but there's a lot of coding
> around to learn from.
> The alist jazz-map contains mapping information from glyph name to
> unicode character number, so that any external font could be accessed
> as long as it supports Unicode:
> %**
> *
> % MAPPING ALISTS / LOOKUP TABLES
> %**
> *
> % MAPPING ALIST: GLYPH NAME TO UNICODE CHAR NUMBER
> =
> #(define jazz-map '(
> ("noteheads.s0jazz" . #xe191)
> ("noteheads.s1jazz" . #xe192)
> ("noteheads.s2jazz" . #xe193)
> ("noteheads.s0slashjazz" . #xe19c)
> ("noteheads.s1slashjazz" . #xe19d)
> ("noteheads.s2slashjazz" . #xe19e)
> ("noteheads.s2crossjazz" . #xe1a1)
> ("flags.u3jazz" . #xe21c)
> ("flags.u4jazz" . #xe21d)
> [...]
> As a jazz replacement for \musicglyph, there now is a simliar
> \jazzglyph command that can be used in exactly the same way, returning
> the corresponding jazz font glyph.
> Example: \musicglyph #"script.ufermata" becomes \jazzglyph
> #"scripts.ufermatajazz".
> %**
> *
> %  JAZZ GLYPH ACCESS
> %**
> *
> % JAZZGLYPH: REPLACEMENT FOR MUSICGLYPH
> 

Re: changing the default midi instrument "permanently"

[Robert Schmaus]

Hi Eluze,

It worked, when I replaced "GrandStaff" with "Staff", i.e.

\layout {   
  \context {
\Staff
 midiInstrument = "acoustic guitar (nylon)"
  }
}

Possibly, a GrandStaff doesn't have instrument properties ...

You could also outsorce that piece of code into a "general layout file" 
containing some of your preferences, and include that into every piece 
you write ...


But I'm sure there are more fancy things one could do with midi.scm ...

Best, Robert


Am 3/17/13 10:03 PM, schrieb Eluze:

 \context {
   \GrandStaff
   midiInstrument="acoustic guitar (nylon)"
 }


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Re: changing the default midi instrument "permanently"

[Robert Schmaus]

Try placing that context definition in the \midi block rather than the
\layout block.



That was my first try too, but, again, it worked only when I used Staff 
instead of GrandStaff. And then it didn't matter if I placed it in the 
layout or in the midi block ...


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Re: changing the default midi instrument "permanently"

[Robert Schmaus]

Before you (or anyone else) starts an investigation into this, let me
(or someone else) double-check to be sure. I'm currently using Elysium
(and Eclipse) to write LilyPond scores, and I did notice that there
seems to exist something like a midi-instrument memory. Meaning that
changing the midi instrument in a Voice/Staff sometimes results in that
instrument being used also for other Voices (even in different scores or
files!) as a default, if nothing else is specified.

However, for just that reason, I've checked the Staff/GrandStaff &
midi/layout combinations outside the editor (in MacOS) where that
"instrument-memory" doesn't exist for sure. And I'm pretty sure I was
thorough ... but if I did miss something, I'd hate to cause a stir.

It's high time to finally install VirtualBox and some Linux variation to
be able to use Frescobaldi ... 



On Mon, Mar 18, 2013, at 09:16 AM, David Kastrup wrote:
> Robert Schmaus  writes:
> 
> >> Try placing that context definition in the \midi block rather than the
> >> \layout block.
> >>
> >
> > That was my first try too, but, again, it worked only when I used
> > Staff instead of GrandStaff. And then it didn't matter if I placed it
> > in the layout or in the midi block ...
> 
> I am somewhat surprised.  It should matter.  midiInstrument is read by
> the Staff_performer, and short of overrides at Staff level (which are
> established by TabStaff and DrumStaff to guitar and drums,
> respectively), the setting at GrandStaff should be visible.
> 
> I have to admit that I don't really understand how midiChannelMapping
> plays into this right now.
> 
> -- 
> David Kastrup
> 
> 
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Re: Stemless notes - entire score?

[Robert Schmaus]

Hi Ben,

just add

 \context {
  \Staff
  \override Stem #'transparent = ##t
  \override Flag #'transparent = ##t
}

to the layout block. If there's anything else you'd like to hide, just
set the respective property transparent as well ...

Best,
Robert


On Tue, Mar 19, 2013, at 07:39 AM, SoundsFromSound wrote:
> Hi there,
> 
> I have a situation here with a few pieces in which I need to 'convert'
> every
> note of these scores into a stemless note.  What's the most
> efficiently-coded and straight approach for "wrapping" the entire score
> with
> some sort of "stem off" command?  Is this possible? I hope I don't have
> to
> manually do measure by measure, piece by piece.
> 
> Durations and whatnot are irrelevant, I simply need to remove all stems
> from
> these scores - that's it.  Thank you all, much appreciated!
> 
> Score 1 is a piano solo and scores 2 & 3 are string quartets, if that
> helps.
> 
> Ben
> 
> 
> 
> -
> composer | sound designer
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Stemless-notes-entire-score-tp143010.html
> Sent from the User mailing list archive at Nabble.com.
> 
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Re: Repeated accidental after tie across line break

[Robert Schmaus]

I play and typeset a lot of latin american music which has a lot of
syncopation which makes this particlar scene appear quite often.
Maybe I got used to something non-standard but it still seems more logical
to me to omit the tied accidental and treat the measure as if there was no
line break.


I can confirm that also from pov of jazz music - I've looked through 
some of the "official" jazz publications and haven't seen any 
accidentals on tied-and-broken notes. Perhaps Gould's rule in this case 
is mainly meant for classical notation practice?



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Re: Remove flag

[Robert Schmaus]

Hi Peter,

Something *yet* easier than three overrides? Wow ...
I guess, you could pack them into a variable, like

AllOff = { \override ... }

and use the variable instead.
For yet easier solutions known to me, you'd have to use a 
computer-brain-interface ... but maybe, someone else has a better idea.


As for the error message, it seems that there is no property 
"flag-style" for the Stem object.

You can make the flags invisible by using

\override Flag #'transparent = ##t

Note that this will not make the beams invisible - that's a separate 
object to make transparent.
Note also that all those overrides will simply make the objects 
invisible, but the overall spacing will not change. I.e. there's space 
reserved for the flags &c. that one doesn't see ...


Best,
Robert



On 5 May 2013, at 11:32, Peter O'Doherty > wrote:



Hi list,

At certain points in a score I want to remove stem, beam and flags 
from notes, leaving only the note heads. Two questions: is there an 
easier way to do it than using these three \overides and why does the 
third override on the flags throw an error on version 2.16.0:


warning: cannot find property type-check for `flag-style' 
(backend-type?). perhaps a typing error?




\override Voice.Stem #'transparent = ##t

\override Voice.Beam #'transparent = ##t

\override Voice.Stem #'flag-style = #'no-flag


Many thanks,
Peter



--
//=
-> Peter O'Doherty
->http://www.peterodoherty.net
->m...@peterodoherty.net
//=
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Re: hide bar lines

[Robert Schmaus]

Have you tried \cadenzaOn and \cadenzaOff?

Best, Rob



> On 18 Aug 2015, at 14:08, BB  wrote:
> 
> I tried to hide the bar lines and was very successful with two methods that 
> work. (If that are good ones a cannot decide.) 
> 
> I found that 
> \hide BarLine
> \hide SpanBar
> hide but let the space untouched. 
> 
> A problem is I am not happy, as I cannot force bars. I wanted no bars, but a 
> double bar at the end. 
> Does anybody have a solution? 
> 
> Thanks
> 
> 
> 
> 
> 
>   \repeat unfold 4 { a4 a a a } \bar "||"
> 
> %{
>   \layout {
> \context {
>   \Staff
>   whichBar = #""
>   \remove "Time_signature_engraver" 
> } 
> 
> }
> %}
> 
> \layout {
>\context { \Score \remove Timing_translator \remove Bar_number_engraver }
>\context {
>   \Staff
>   \override BarLine #'stencil = ##f
>   \override TimeSignature #'stencil = ##f
>}
> }
> 
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Re: bowing change in a long trill

[Robert Schmaus]

I guess you could wrap the tied notes into a polyphonic structure (where the 
additional voice has only hidden notes) and then specify the exact location of 
the upbow, like so:

Instead of eg
c''2. ~ c2. 

use

<<
  { c''2. ~ c''2. }
  \new Voice { \hide c''2.\downbow \hide c''2.\upbow }
>>

Adjust the spacers to whatever you desire. 
And sorry, I can't test this right now, but it should work. 

Best, Robert 

__

Truth does not change according to our ability to stomach it.
-- Flannery O'Connor

> On 27 Aug 2015, at 09:53, B~M  wrote:
> 
> Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive 
> attached. 
> The trill continues over two full bars, 27 and 28. 
> What I would like to do is add in a change go bow, (an up bow)  but half way 
> through the trill
> in 28. Is it somehow possible to do this by specifying the bow direction with 
> X Y coordinates etc ? 
> 
> Paul 
> 
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Re: bowing change in a long trill

[Robert Schmaus]

Hi Paul,

I forgot two more remarks:
1) great ponding!
2) you should be careful with sending potentially copyrighted material in a 
list. Not sure if this applies here, but ...

Best, Rob

__

Truth does not change according to our ability to stomach it.
-- Flannery O'Connor

> On 27 Aug 2015, at 09:53, B~M  wrote:
> 
> Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive 
> attached. 
> The trill continues over two full bars, 27 and 28. 
> What I would like to do is add in a change go bow, (an up bow)  but half way 
> through the trill
> in 28. Is it somehow possible to do this by specifying the bow direction with 
> X Y coordinates etc ? 
> 
> Paul 
> 
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Re: bowing change in a long trill

[Robert Schmaus]

> Note the use of ‘s’, a spacer rest, which is semantically more correct than 
> \hide c''.

I used the hidden note to place the bowing sign in the correct height. I'm not 
sure if s\upbow looks good if you overlay that with c ...

Try 
<<
  { c  c}
  \new Voice { s\upbow  \hide c\downbow}
>>

(Or look at lilybin.com/n6fwdk/1)

Cheers, Robert 



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Re: bowing change in a long trill

[Robert Schmaus]

But I probably should have used \hideNotes instead of just \hide ...

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Re: bowing change in a long trill

[Robert Schmaus]

Hi Simon,

I never really checked out this structure

<<
  { music }
  { yet more music }
>>

Awesome, I didn't know it worked that way! And I've noticed another
advantage of your approach: although hidden, the notes in the \new Voice
construct still reserve their own space and thus place the bow command
next to the non-hidden note. yours is right on top of it.

Best,
Rob



Am 27/08/15 um 20:06 schrieb Simon Albrecht:
> Hello Robert and Paul,
> 
> Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
>>
>>> Note the use of ‘s’, a spacer rest, which is semantically more
>>> correct than \hide c''.
>> I used the hidden note to place the bowing sign in the correct height.
>> I'm not sure if s\upbow looks good if you overlay that with c'''' ...
>>
>> Try
>> <<
>>{ c''''  c''''}
>>\new Voice { s\upbow  \hide c''''\downbow}
>>
> You’re right, of course. My mistake, since I forgot to delete the \new
> Voice – actually, it should be within one voice:
> 
> {
>   c''2.\downbow ~
>   <<
> { c''2. }
> { s4. s\upbow }
>   >>
> }
> 
> and then it’s even necessary not to have hidden notes:
> <http://lilybin.com/n6fwdk/2>.
> 
> Yours, Simon

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Re: lilypond: merging rests in polyphonic staff

[Robert Schmaus]

> 
> I do not understand R1*4?

R is a full bar rest of the specified duration. Thus, R1 is a full bar rest 
that only makes sense in a 4/4 context. Duration-wise it spans the same time as 
r1, but is placed in the middle of the bar instead on the starting beat (or 
moment). Likewise R2 is a full bar rest in a 2/4 context, placed in the middle 
&c. 

Another difference: R1 * 4 specifies 4 consecutive 4/4 full bar rests, whereas 
r1 * 4 specifies a single rest whose duration is quadrupled. 

It's all covered in the notation manual, of course ...

Best, Robert 
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Re: Poor man' ossia

[Robert Schmaus]

Without being able to test it right now: my assumption is that the 
"\voiceThree" is responsible for the shift right. Have you tried using voiceOne 
instead?

__

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-- Flannery O'Connor

> On 14 Sep 2015, at 10:43, Menu Jacques  wrote:
> 
> Hello folks,
> 
> In the example below, I’d like to indicate that someone else is playing two 
> 16th notes while this player plays the 8th on the first beat of the second 
> bar, to help going a tempo altogether on the the second beat.
> 
> Trouble is that the two 16th are too much on the right and the stems of the « 
> main » voice are too long.
> 
> Thanks for the help!
> 
> JM
> 
> 
> 
> 
> \version "2.19.25"
> 
> \relative c' {
>   \time 2/4
> 
>   d2 - \markup{ \italic "rall."}  ~ | % 8
> 
>   <<
> {
>   d8 [
>   \tempo "A tempo"
>   d'16 \pp -. g,16 -. ]
> }
> \new Voice {
>   \small
>   \voiceThree
>   \hide NoteHead
>   \override NoteHead.no-ledgers = ##t
>   c'16 [ c ] s16 s16
> }
>   >>
> 
> }
> 
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Re: Two questions about key signatures

[Robert Schmaus]

Hi T.M.,

Check the Notation Reference, section 5.4.6 - you'll find the answers to your 
questions there. 

http://lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects

Best, Robert 

__

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> On 5 Oct 2015, at 09:16, T. Michael Sommers  wrote:
> 
> I have a couple of questions about key signatures:
> 
> 1) When a key change occurs at the end of a printed line, the new key 
> signature is printed at the end of the line.  Is there any way to suppress 
> that?
> 
> 2) When the key changes, the new key signature includes a bunch of naturals 
> to negate the effects of the previous key.  Is there any way to suppress 
> that?  My application is not an actual score to be played by others, but just 
> a cheat sheet for me, and all those naturals get in the way, so complying 
> with any standards is not an issue, if those naturals are standard notation.
> 
> Thanks for any help.
> 
> -- 
> T.M. Sommers -- tmsomme...@gmail.com -- ab2sb
> 
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Re: Two questions about key signatures

[Robert Schmaus]

Actually, so save you some time finding the relevant passages, your question 1 
is answered in the section called "Using break-visibility", and Q2 in section 
"Visibility of cancelling accidentals". 

Best, Robert 

__

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> On 5 Oct 2015, at 09:16, T. Michael Sommers  wrote:
> 
> I have a couple of questions about key signatures:
> 
> 1) When a key change occurs at the end of a printed line, the new key 
> signature is printed at the end of the line.  Is there any way to suppress 
> that?
> 
> 2) When the key changes, the new key signature includes a bunch of naturals 
> to negate the effects of the previous key.  Is there any way to suppress 
> that?  My application is not an actual score to be played by others, but just 
> a cheat sheet for me, and all those naturals get in the way, so complying 
> with any standards is not an issue, if those naturals are standard notation.
> 
> Thanks for any help.
> 
> -- 
> T.M. Sommers -- tmsomme...@gmail.com -- ab2sb
> 
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Re: Aw: Re: PDF Links in Windows

[Robert Schmaus]

I'm not sure if this what you're looking for, but here goes: I'm using 
frescobaldi on a Mac, and of course it does have a panel where you see the 
engraved score. Frescobaldi does not, however support printing the pdf itself - 
instead it asks if I'd like to open the pdf in the default pdf viewer and print 
it from there. So the print shortcut just opens the pdf in another program. 

I don't know if the windows version reacts the same way, but if you're looking 
for a way to send the pdf to acrobat, you could try the print shortcut and see 
if it opens up in acrobat.

Best, Robert 

__

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-- Flannery O'Connor

> On 5 Oct 2015, at 03:57, Thomas WillNot <1137...@acadiau.ca> wrote:
> 
> Hello comrades,
> 
> Thanks for all of your replies!
> Does anyone know if it would be possible to make the links in the regular
> PDF reader go to Frescobaldi?
> I have discovered Frescobaldi (after years of hacking away at LilyPond the
> hard way!) and quite like it!  But I like to use Acrobat Reader for a
> maximized view of my score.
> If it can't be done with Frescobaldi, Notepad or MS-DOS Edit also work for
> me.  LilyPad is O.K. most of the time too, but it can't handle Unicode! :O
> I know how to register a protocol, and those links will help, but I wonder
> which method of scripting glue might work for this.  I fear that anything
> beyond simple batch scripting would be beyond my abilities to figure out!
> 
> Thanks again,
>   Thomas
> 
> 
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Re: Two questions about key signatures

[Robert Schmaus]

> 
> I tried this:
> 
>   \override Staff.KeySignature.break-visibility = ##(#f #t #t)
> 
> along with some variations, but it didn't seem to have any effect. Also, I 
> had used that formula in another situation (with the TimeSignature, I think), 
> and, although it removed the signature, it left the empty staff lines it had 
> occupied dangling off the end of the staff, with was a bit unsatisfactory.

I just checked - there seem to be special considerations for the Time Signature 
case. 
You'll need to set the
"explicitKeySignatureVisibility" and possibly the "printKeyCancellation" 
properties - those are also described on that page. 

Best, Robert 



> -- 
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> 
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Re: Two questions about key signatures

[Robert Schmaus]

> 
> { \key as \minor ces \key c \major c }
> 
> How on earth would the performer know that the second one is a c natural if 
> there is no key cancellation?

S/He wouldn't. Unless (and I quote)

> My application is not an actual score to be played by others, but just a 
> cheat sheet for me, 

Best, Robert 
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Re: My finances for working on LilyPond

[Robert Schmaus]

I can only subscribe to what Simon (and all other responders) wrote. 

Like Urs pointed out, that the absence of any reports about the financial 
situation on the developer side left me under the impression that it wasn't 
really problematic. I can understand that it's not pleasant sending out request 
for contributions - maybe someone else on the developer side who's familiar 
with the situation could do that instead on a - say - quarterly basis, so 
everyone's aware of that. After all, there are always new subscribers to the 
list, many of who were not yet aware of who actually carries the main burden of 
lilypond development. 

Apart from that I'd like to contribute as well - please send me the relevant 
information (I live in Germany).

Thanks for your fantastic work, Robert


> On 23 Oct 2015, at 03:10, Simon Albrecht  wrote:
> 
>> On 22.10.2015 19:21, David Kastrup wrote:
>> As you all know, my sole source of income are donations from happy
>> LilyPond users.  It would appear that LilyPond users have stopped being
>> happy with my work.
> 
> You must know that this is not the case. I should be much surprised if I were 
> the only one to appreciate the highly complicated work you do, of which the 
> results sometimes are hard to grasp in their immediate effect. But that does 
> not diminish their value for the project at all, and unless I’m much mistaken 
> nobody currently working on LilyPond could rival your understanding of the 
> internals and your ability to fix them. I do not think one can construe a 
> link between the work you do and the sudden (?) decrease of funding; indeed, 
> you continue to make quite impressive and important changes.
> I have taken so much profit from your work that it’s about time I gave 
> something back. It can’t be as much as I’d certainly like to give, but if I 
> don’t remain the only one to take part, it will make a difference. Please 
> tell me (privately, I assume) where to direct the support. (You probably know 
> that I live in Germany.)
> 
> Yours sincerely, Simon
> 
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Re: Hiding bars and crescendo on last bar of a piece

[Robert Schmaus]

It's still not completely clear what you're trying to achive, at least 
to me. If you want to hide a complete bar with notes and stuff in it, 
you'll have to explicitly hide everything that's in it. But that doesn't 
really make sense.


If you want to have an empty space within a given staff, you could work 
with \stopStaff and \startStaff and scale the space in between with 
spacer rests.


If this is about that last bar #17 you mentioned in an earlier post, 
Malte's solution is perfect. Would you like to create some extra empty 
space after the last visible bar, i.e. have it end somewhere in the 
middle of the page?


If all of the above are wrong, you should probably write down an 
example, take a picture of that and send it to the list ...


Best,
Robert



Am 24/10/15 um 16:06 schrieb Karl Husum:

That did the trick, thank you! :-) , but how do you hide a complete bar
in lilypond?

-Karl

Den 24-10-2015 kl. 14:57 skrev Malte Meyn:



Am 24.10.2015 um 15:17 schrieb Karl Husum:

I want to hide the bar, not the barline :-)
I am trying to put the end of the crescendo on an ekstra bar in the
piece, and then hide it.
Not sure if it the most elegant solution, but it should mbe possible.



You can have a last bar of zero length:

\version "2.19.28"

{
  b1\<
  \bar "|."
  s1*0\!
}

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Re: Redundant accidentals after clef changes

[Robert Schmaus]

Hi Noah,

I'm not really familiar with accidental styles (as the default is 
perfectly fine for me).


But there's a 'manual' solution which works. I just can't say if it's 
too much extra-input for your taste:


\version "2.18.2"

\relative c' {
\time 4/4

\clef "alto"
cis4

\clef "treble"
\once \omit Accidental cis  % <-- no #

\clef "alto"
cis  % <-- # back up

r4 |
}

Best,
Robert



Am 25/10/15 um 11:15 schrieb Noah Fields:

\version "2.18.2"

\relative c' {
 \time 4/4

 \clef "alto"
 cis4

 \clef "treble"
 cis

 \clef "alto"
 cis

 r4 |
}


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Re: Transposition Confusion

[Robert Schmaus]

Hi Thomas,

Right now, the lilypond site seems to be down, so can't give you any link, but 
just to clarify: The transposition command affects only midi output. 
From what I gather, you expect the Bb instruments to show up with no flats (as 
Bb instruments play C major if Bb major is the concert pitch). If you entered 
those instruments in concert pitch, you'll need to use 

\transpose bes c' { ... Music ... }

for the score to appear correct. 
If you're compiling your piece to midi as well, then you'll have to use 
\transposition on top of that for the midi to be correct. 

Best, Robert 




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-- Flannery O'Connor

> On 30 Oct 2015, at 15:09, Thomas WillNot <1137...@acadiau.ca> wrote:
> 
> Just to clarify, every instrument's line is showing up with two flats (the
> piece is in B flat major) so the non-transposing instruments are fine, but
> the others are not of course.
> 
> 
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Re: Tempo equivalence markup

[Robert Schmaus]

I've done something similar using an ossia staff some time ago. That's 
definitely a way. 

My solution (which was for drums) looked like this (I can't tell you right now, 
where I got the arrowed slur commands from - but that's probably easy to find):

FullDrums = <<

\new DrumStaff = "main" <<

\new DrumVoice { \voiceOne \DrumsUp }
\new DrumVoice { \voiceTwo \DrumsDown }

>>
{

\new DrumStaff \with {
alignBelowContext = "main"
\remove Time_signature_engraver
\remove Clef_engraver
\remove Bar_number_engraver
\remove Bar_engraver
\override StaffSymbol.line-count = #0
fontSize = #-4
\override StaffSymbol.staff-space = #(magstep -3)
\override StaffSymbol.thickness = #(magstep -3)
}
{
\new DrumVoice \drummode {

s1 * 2
s2

\arrowed-slur-outside-staff
\slurDown
s2. \tuplet 3/2 { sn8 sn sn ( }
\noBreak
sn8[ ) sn sn] \stopStaff
}
}
}

>>

That is of course not compilable - just to show how I did it ...

Best, Robert 


__

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> On 13 Nov 2015, at 06:34, Andrew Bernard  wrote:
> 
> The attached image shows a tempo equivalence markup I need to set, indicating 
> that a 32 in the context of the preceding 5/4 tuplets now equals a 16. The 
> partial tuplet bracket seems complicated to do, and I don’t really know how 
> to set this fragment of combined partial music and text. The matter is 
> complicated by the fact that I use a custom music font, and worse still (!) 
> with notehead glyphs that are specially customised also to achieve the very 
> precise appearance the composer requires. So just using \note and so on is 
> not what I need. Would this be best done as a type of ossia?
> 
> Any help appreciated.
> 
> 
> Andrew
> 
> 
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Re: Repeat with Alternative on First Time

[Robert Schmaus]

Hi Mike,

this is actually covered in the Notation Reference, more precisely, 
right there:


http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats#manual-repeat-marks

Best,
Robert



Am 25/11/15 um 13:57 schrieb Michael Hartl:

Dear Lilypond Experts,

this is my first time posting to this list. I am trying my hand at
engraving a song with a perhaps unusual, but very simple repeat pattern
and I couldn't find out how to come to the correct result from the manuel.

The melody goes like this:


  
  

It should be set like:

 [1.  ] [2.-3. ] 

Right now, I do:
\repeat volta 3 {} \alternative {{} {}} 

But, this gives me "1.-2." and "3." instead of "1." and "2.-3." for the
alternative endings. This looks like it ought to be easy to correct, but
I can't figure it out.

How can it be done?

Also, \repeat itself is actually wrong, because the verse is not
repeated before the chorus. Is there any way to use \alternative
without \repeat? A \repeat over the entire song would be acceptable, but
then again I can't use \alternative in the middle of
\repeat, but only at the end.

Thank you
Mike

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Re: Repeat with Alternative on First Time

[Robert Schmaus]

Actually, what seems to work (although I'm not positive that this is all 
correct, so check if this causes problems down the road, i.e. in th 
chorus part) is this:


\repeat volta 2 {
  c4 d e f
}
\alternative{
{
	\set Score.repeatCommands = #'((volta #f) (volta "1.") 
begin-repeat)	

g a b c
}
{
\set Score.repeatCommands = #'((volta #f) (volta "2.-3.") end-repeat)
g f e d
}
}

Best, Robert



Am 25/11/15 um 14:41 schrieb Robert Schmaus:

Hi Mike,

this is actually covered in the Notation Reference, more precisely,
right there:

http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats#manual-repeat-marks


Best,
Robert



Am 25/11/15 um 13:57 schrieb Michael Hartl:

Dear Lilypond Experts,

this is my first time posting to this list. I am trying my hand at
engraving a song with a perhaps unusual, but very simple repeat pattern
and I couldn't find out how to come to the correct result from the
manuel.

The melody goes like this:


  
  

It should be set like:

 [1.  ] [2.-3. ] 

Right now, I do:
\repeat volta 3 {} \alternative {{} {}} 

But, this gives me "1.-2." and "3." instead of "1." and "2.-3." for the
alternative endings. This looks like it ought to be easy to correct, but
I can't figure it out.

How can it be done?

Also, \repeat itself is actually wrong, because the verse is not
repeated before the chorus. Is there any way to use \alternative
without \repeat? A \repeat over the entire song would be acceptable, but
then again I can't use \alternative in the middle of
\repeat, but only at the end.

Thank you
Mike

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Re: Chord names

[Robert Schmaus]

> But LilyPond's chord-naming names actually played chord notes, not
> anticipated chords.

I agree - it's not a good idea to confuse the chord with the underlying scale. 
If you want a minor chord sounding, then use one; you can *add* a 4th (or 
better 11th) to that.

Best, Robert 



> 
> -- 
> David Kastrup
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Percent repeat counter in Staff with ChordNames

[Robert Schmaus]

Dear Lilyponders,

I have the following problem: Within a staff of "normal" written music, 
I include chord names to indicate improvised/soloing passages. If a 
chord is repeated over a large-ish number of bars, I'd like to use 
percent repeats and possibly the counter, too.

But I can't get the counter to work:

%%%

\version "2.19.18"

\score {

  \new Staff
  \with {
\accepts "ChordNames"
\consists Percent_repeat_engraver
  } {
% some written out music
c''4 c'' c'' c''

% switch to changes
\chords {
  \set countPercentRepeats = ##t
  \set repeatCountVisibility = #(every-nth-repeat-count-visible 4)
  \repeat percent 8 { c1 : maj7 }
}
  }
}



Everything works fine except the Percent Repeat Counter. If I switch 
from \chords { ... } to \chordmode { ... }, the counter works, but I no 
longer get ChordNames but stacked notes.


Is something missing from the \with { ... } statement?

Any help appreciated!
Peaceful days to everyone,
Robert

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Re: Percent repeat counter in Staff with ChordNames

[Robert Schmaus]

That works just perfectly - thanks very much!
Best, Robert 



> On 23 Dec 2015, at 21:03, David Kastrup  wrote:
> 
> Robert Schmaus  writes:
> 
>> Dear Lilyponders,
>> 
>> I have the following problem: Within a staff of "normal" written
>> music, I include chord names to indicate improvised/soloing
>> passages. If a chord is repeated over a large-ish number of bars, I'd
>> like to use percent repeats and possibly the counter, too.
>> But I can't get the counter to work:
>> 
>> %%%
>> 
>> \version "2.19.18"
>> 
>> \score {
>> 
>>  \new Staff
>>  \with {
>>\accepts "ChordNames"
>>\consists Percent_repeat_engraver
>>  } {
>>% some written out music
>>c''4 c'' c'' c''
>> 
>>% switch to changes
>>\chords {
>>  \set countPercentRepeats = ##t
>>  \set repeatCountVisibility = #(every-nth-repeat-count-visible 4)
>>  \repeat percent 8 { c1 : maj7 }
>>}
>>  }
>> }
>> 
>> 
>> 
>> Everything works fine except the Percent Repeat Counter. If I switch
>> from \chords { ... } to \chordmode { ... }, the counter works, but I
>> no longer get ChordNames but stacked notes.
>> 
>> Is something missing from the \with { ... } statement?
> 
> No, from the \set statements.  They are setting countPercentRepeats and
> repeatCountVisibility in the Bottom context while the engraver actually
> looking at them is in Staff context and consequently queries the
> properties at Staff level which are unfazed by changes at Bottom.
> 
> So you need to write
> 
>   \set Staff.countPercentRepeats = ...
> 
> and similar.
> 
> -- 
> David Kastrup

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Re: does not save file automatically after "run" lilypond "

[Robert Schmaus]

> 
> Try saving _before_ compiling a file.

At least on the Mac, there's a preference to automatically save the .ly before 
running Lilypond ...


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Re: Percent repeat counter in Staff with ChordNames

[Robert Schmaus]

Hi David,

as you pointed out a week ago, this works fine:

\version "2.19.18"

\score {

  \new Staff
  \with {
\accepts "ChordNames"
\consists Percent_repeat_engraver
  } {
% some written out music
c''4 c'' c'' c''

% switch to changes
\chords {
  \set Staff.countPercentRepeats = ##t
  \set Staff.repeatCountVisibility = 
#(every-nth-repeat-count-visible 4)

  \repeat percent 8 { c1 : maj7 }
}
  }
}


It stops working however, if I go from 2.19.18 to 2.19.34. Feature or bug?

Best, Robert



Am 23/12/15 um 21:03 schrieb David Kastrup:

Robert Schmaus  writes:


Dear Lilyponders,

I have the following problem: Within a staff of "normal" written
music, I include chord names to indicate improvised/soloing
passages. If a chord is repeated over a large-ish number of bars, I'd
like to use percent repeats and possibly the counter, too.
But I can't get the counter to work:

%%%

\version "2.19.18"

\score {

   \new Staff
   \with {
 \accepts "ChordNames"
 \consists Percent_repeat_engraver
   } {
 % some written out music
 c''4 c'' c'' c''

 % switch to changes
 \chords {
   \set countPercentRepeats = ##t
   \set repeatCountVisibility = #(every-nth-repeat-count-visible 4)
   \repeat percent 8 { c1 : maj7 }
 }
   }
}



Everything works fine except the Percent Repeat Counter. If I switch
from \chords { ... } to \chordmode { ... }, the counter works, but I
no longer get ChordNames but stacked notes.

Is something missing from the \with { ... } statement?


No, from the \set statements.  They are setting countPercentRepeats and
repeatCountVisibility in the Bottom context while the engraver actually
looking at them is in Staff context and consequently queries the
properties at Staff level which are unfazed by changes at Bottom.

So you need to write

\set Staff.countPercentRepeats = ...

and similar.



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Re: Percent repeat counter in Staff with ChordNames

[Robert Schmaus]

Am 30/12/15 um 20:35 schrieb David Kastrup:

Robert Schmaus  writes:


Hi David,

as you pointed out a week ago, this works fine:

\version "2.19.18"

\score {

   \new Staff
   \with {
 \accepts "ChordNames"
 \consists Percent_repeat_engraver
   } {
 % some written out music
 c''4 c'' c'' c''

 % switch to changes
 \chords {
   \set Staff.countPercentRepeats = ##t
   \set Staff.repeatCountVisibility =
#(every-nth-repeat-count-visible 4)
   \repeat percent 8 { c1 : maj7 }
 }
   }
}


It stops working however, if I go from 2.19.18 to 2.19.34.


How so?



The repeat-counter is no longer visible in 2.19.34.
Frescobaldi let's me keep several Lily versions and chooses the right 
one from the \version statement. So, if I change the version statement 
to 2.19.34, the percent count simply disappears ..



Fwiw, I'm using lilypond on Mac OS 10.9.5.


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Re: Lilypond and Jazz chords

[Robert Schmaus]

--
Note beforehand: I'm sending this from a phone, and I can't control if the 
attached picture is sent inline or not - hope you can see it, otherwise I'll 
have to resend it later today. 
--

Hi Carl-Henrik,

Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce 
stuff like this:



So, Lilypond is quite able to produce those complex chords you mention. This is 
definitely not out of the box though ... I've put quite some work into it. But 
I guess it goes along the lines of what Kieren sent you earlier ...

The question if it is sensible to go that way is something else.

Best, Robert 



> On 17 Jan 2016, at 20:30, Carl-Henrik Buschmann  wrote:
> 
> Sorry, thought the thread was referenced. 
> 
> I'm wondering if lilypond is able to notate complex chords, as discussed in 
> the before mentioned thread. 
> Examples as shown: 
> 
> 
> 
>> Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley :
>> 
>> 2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann :
>>> Any news regarding this?
>> 
>> 
>> 
>> Well, what's "this"?
>> LilyPond exists, yes. There is no common definiton of "JazzChords".
>> So, no news. ;)
>> Maybe you may want to be a little more specific?
>> 
>> Cheers,
>> Harm
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Re: Lilypond and Jazz chords

[Robert Schmaus]

Thanks! 
I can post the code for that if you're interested, I just can't promise I'll be 
able to do that tonight. And it involves the (fantastic) LilyJazz package which 
was created by Thorsten Hämmerle some time ago.
If can get a hold of that, and put it together with Kieren's suggestions, 
that's basically it - the rest is routine work ...

As for the 8 - this is actually a percent repeat counter that simply ticks off 
every n-th repeat for easier readability. You're right - I should set the 
"jazz-font" for it also. It's not a big deal, too ... 

The chords usually *are* above the staff lines - like here:



The chords of my first posting were from a solo passage (I sometimes engrave 
the solo passages separately for easier overview during soloing), and I prefer 
solo changes to be placed within the staff for compactness as well as clarity. 

Best, Robert 


__

The cure for a fallacious argument is a better argument, not the suppression of 
ideas.
-- Carl Sagan


> On 18 Jan 2016, at 12:16, Carl-Henrik Buschmann  wrote:
> 
> This is smashing! Great job. 
> 
> The alignment of the chords, is it possible to push above the staff like 
> traditional chords? The 8, is it part of a multi rest? 
> 
> 
> 
>> 18. jan. 2016 kl. 11.40 skrev Robert Schmaus :
>> 
>> 
>> --
>> Note beforehand: I'm sending this from a phone, and I can't control if the 
>> attached picture is sent inline or not - hope you can see it, otherwise I'll 
>> have to resend it later today. 
>> --
>> 
>> Hi Carl-Henrik,
>> 
>> Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce 
>> stuff like this:
>> 
>> 
>> 
>> So, Lilypond is quite able to produce those complex chords you mention. This 
>> is definitely not out of the box though ... I've put quite some work into 
>> it. But I guess it goes along the lines of what Kieren sent you earlier ...
>> 
>> The question if it is sensible to go that way is something else.
>> 
>> Best, Robert 
>> 
>> 
>> 
>>> On 17 Jan 2016, at 20:30, Carl-Henrik Buschmann  wrote:
>>> 
>>> Sorry, thought the thread was referenced. 
>>> 
>>> I'm wondering if lilypond is able to notate complex chords, as discussed in 
>>> the before mentioned thread. 
>>> Examples as shown: 
>>> 
>>> 
>>> 
>>>> Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley :
>>>> 
>>>> 2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann :
>>>>> Any news regarding this?
>>>> 
>>>> 
>>>> 
>>>> Well, what's "this"?
>>>> LilyPond exists, yes. There is no common definiton of "JazzChords".
>>>> So, no news. ;)
>>>> Maybe you may want to be a little more specific?
>>>> 
>>>> Cheers,
>>>> Harm
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Re: Lilypond and Jazz chords

[Robert Schmaus]

,
> 
>> it involves the (fantastic) LilyJazz package which was created by Thorsten 
>> Hämmerle some time ago.
> 
> Why are the alterations in the chord names not LilyJazz?

Well, now that you mention it, they might well be. It's been quite some time 
since I worked on that. What I *am* sure of is that I defined all chord layouts 
myself - like the bracketed stacks, or should I use  Dø7 or rather Dmin7b5 for 
a half-diminished chord and so on. 

It is possible though that all tools for doing that are already present in 
LilyJazz ... I simply don't remember now.

Cheers, Robert 

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Re: Lilypond and Jazz chords

[Robert Schmaus]

Yes, that's true - I guess that never bothered me ... until now, that is, now 
that you mention it, thank you very much. 
Quite possibly that is easy to fix though - I'll look into that asap. 

Maybe I should add that, while I like producing aesthetically pleasing lead 
sheets, my first priority has always been to produce sheets that serve the 
performer. And LilyJazz - with or without jazzy accidentals - does provide 
output that is superbly readable even in shady, dim conditions. Only last week 
I played in a bar, and the sheets provided had chord names the size of a 
fine-print edition of the bible. I practically had to kiss the music stand the 
whole gig through ...

Cheers, Robert 

> Hi Robert,
> 
>> It is possible though that all tools for doing that are already present in 
>> LilyJazz ... I simply don't remember now.
> 
> Sorry, I wasn’t clear: the accidentals in your chord names aren’t using the 
> LilyJazz font, as far as I can tell, whereas the rest of the glyphs (e.g., 
> letters, numbers) are.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 

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Re: Lilypond and Jazz chords

[Robert Schmaus]

Hi Kieren and Ponders,


I’m very detail-oriented, so things that others might consider “little” often 
drive me quite crazy.  =)


Well, "little" is the wrong expression - "not painful enough to invest 
the time" is closer to the truth.




Quite possibly that is easy to fix though


Should be.


Turns out, it isn't that easy to fix, for me anyway. Maybe anyone can 
point me in the right direction ...


I checked the code of my jazz-include files, and this is where the 
chords are being defined:


chJazzMusic = {
  < c ees ges > -\markup \super #"o"
  < c d g >  -\markup \super #"sus2"
  < c f g >  -\markup \super #"sus4"

  % etc
}

chJazz = #(append (sequential-music-to-chord-exceptions chJazzMusic #t))

\layout {
  \context {
\Score
chordNameExceptions = #chJazz
\override ChordName.font-size = #4
\override ChordName.font-name = #"LilyJAZZText"
  }
}

Now, I assumed that I had to do something about the accidentals in that 
\context block, but apparently it's not that easy.


I checked this example from the LSR
http://lsr.di.unimi.it/LSR/Snippet?id=750
and I think, what I need to do is to set the chordRootNamer in that 
\context block. There even is a chord namer routine in my include file 
which looks like this:


#(define (chordNamer pitch)
(let* ((alt (ly:pitch-alteration pitch)))
(make-line-markup
 (list
  (make-simple-markup
   (vector-ref #("C" "D" "E" "F" "G" "A" "B")
(ly:pitch-notename pitch)))
  (if (= alt 0) ; alteration?
  (markup "") ; ... nope
  (if (= alt FLAT) ; ... otherwise
  (markup #:smaller #:flat ) ; flat
  (markup #:smaller #:sharp ) ; ... or sharp
  )
  )
  )
 )
)
)

That's what I need to change and use but right now, that code is not 
even called.

I think I need to add something like

chordRootNamer = #chordNamer

to the \context block but that doesn't work, it throws this error:

Interpreting music...[8][16]/Applications/Lilypond/v19/LilyPond 
2.19.18.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:212:9: 
In procedure chordNamer in expression (name-root root lowercase-root?):
/Applications/Lilypond/v19/LilyPond 
2.19.18.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:212:9: 
Wrong number of arguments to #

Exited with return code 1.

I don't really know what to change here ... can anyone give me directions?

Thanks,
Robert






LilyJazz […] does provide output that is superbly readable even in shady, dim 
conditions.


Agreed.

Cheers,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info



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Re: Line break in beam including rests

[Robert Schmaus]

Hi Nils,

Add 

\override Beam. breakable = ##t

before the break in the second example. That should do it ...

Best, Robert 


__

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ideas.
-- Carl Sagan


> On 23 Jan 2016, at 11:51, Niels  wrote:
> 
> Dear Lilypond-group,
> 
> I want to break after a bar.
> In the first example this shown.
> However, when a beam spans the break the 8th rest in example 2 causes a 
> problem. How can I create a line break here?
> 
> Thanks for your help,
> Niels
> 
> ---
> \version "2.19.35"
> 
> \paper {
>  indent = 0
>  ragged-right = ##t
> }
> 
> notes={
>  %First example
>  %here the break works after the 8th rest
>  r2. a8 r \break
>  a r8 r2. \bar "|."
> 
>  \break % Go to the second example
> 
>  %First example
>  %here the break does not work after the 8th rest
>  r2. a8[ r \break
>  a] r8 r2. \bar "|."}
> 
> \score{
>  \new Staff
>  \notes
>  }
> ---
> 
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Font of accidentals changes after line break

[Robert Schmaus]

Dear Lilyponders,

I usually engrave jazz lead sheets using LilyJazz, and I've noticed the 
following odd behaviour: If I tie a note across a manual line break, and 
the note has an accidental, then the LilyJazz font is not applied to the 
accidental of the continued note after the line break.

The following snippet shows this:

% %

\version "2.19.34"
\include "LilyJAZZ.ily" % <-- path to LilyJAZZ file ...

\score {
  \new Staff {

\key ees \major
\time 4/4
\jazzOn

\relative c'' {
  < des e, fis, >1 ~
  \break
  q8
}
  }
}

% %

I tried this (on a Mac) with v2.19.18 and 2.19.34. I also tried it with 
2.18.2, where the issue doesn't come up because the accidentals are not 
shown after the line break.


Does anyone know of a way to fix this? Maybe there's a new additional 
accidental type that I need to set? Right now, I have overrides on the 
objects Staff.Accidental, Staff.AccidentalCautionary, and 
Staff.AccidentalSuggestion. Is there a new one in v2.19? I didn't find 
any in the internals reference ...


If it can't be fixed easily, how can I turn off the accidental after 
break? I tried

\override Staff.Accidental.after-line-breaking = ##f
but that didn't change anything.

Any help would be appreciated!

Thanks,
Cheers, Robert


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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Urs,

You seem to have sent two mails - only got the second one ... strange.

Anyway, thank you for your solution.
I did instal openlilylib during the "Trunkne Lied" project, but haven't 
used it outside of that. I'll try that out asap, but I won't be able to 
do it tonight ...


Best,
Robert


Am 24/01/16 um 23:33 schrieb Urs Liska:



Am 24.01.2016 um 23:01 schrieb Urs Liska:


Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus :

Dear Lilyponders,

I usually engrave jazz lead sheets using LilyJazz, and I've noticed the

following odd behaviour: If I tie a note across a manual line break,
and
the note has an accidental, then the LilyJazz font is not applied to
the
accidental of the continued note after the line break.
The following snippet shows this:

Did you try the alternative approach using openLilyLib's Stylesheets library?

Urs


OK, just checked it.

Provided you have
- LilyJAZZ "installed" in LilyPond's font directory
- openLilyLib and its /ly subdirectory in LilyPond's include path
then

\include "openlilylib"
\useLibrary Stylesheets
\useNotationFont LilyJAZZ

will make your example work properly. You should remove the \jazzOn.

HTH
Urs




% %

\version "2.19.34"
\include "LilyJAZZ.ily" % <-- path to LilyJAZZ file ...

\score {
   \new Staff {

 \key ees \major
 \time 4/4
 \jazzOn

 \relative c'' {
   < des e, fis, >1 ~
   \break
   q8
 }
   }
}

% %

I tried this (on a Mac) with v2.19.18 and 2.19.34. I also tried it with

2.18.2, where the issue doesn't come up because the accidentals are not

shown after the line break.

Does anyone know of a way to fix this? Maybe there's a new additional
accidental type that I need to set? Right now, I have overrides on the
objects Staff.Accidental, Staff.AccidentalCautionary, and
Staff.AccidentalSuggestion. Is there a new one in v2.19? I didn't find
any in the internals reference ...

If it can't be fixed easily, how can I turn off the accidental after
break? I tried
\override Staff.Accidental.after-line-breaking = ##f
but that didn't change anything.

Any help would be appreciated!

Thanks,
Cheers, Robert


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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Simon,

thanks for your repy - I'll keep that in mind as a last resort if I 
can't get any other solution to work ...


Cheers,
Robert

Am 24/01/16 um 23:22 schrieb Simon Albrecht:

On 24.01.2016 22:56, Robert Schmaus wrote:

If it can't be fixed easily, how can I turn off the accidental after
break? I tried
\override Staff.Accidental.after-line-breaking = ##f
but that didn't change anything.


The after-line-breaking property can be set to a procedure, which will
then be executed /after line breaking/, hence the name.
In this case you’d just need \once\hide Staff.Accidental at the moment
of the line break.

Yours, Simon


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Re: Font of accidentals changes after line break

[Robert Schmaus]

One more thought: My original approach of simply \include-ing LilyJAZZ should 
be the standard way of using it. Which makes me think, that there's either 
something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond. 
Shouldn't I notify the bug team of this and if so, how do I do that?

Best, 
Robert


> On 24 Jan 2016, at 23:33, Urs Liska  wrote:
> 
> 
> 
>> Am 24.01.2016 um 23:01 schrieb Urs Liska:
>> 
>> Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus 
>> :
>>> Dear Lilyponders,
>>> 
>>> I usually engrave jazz lead sheets using LilyJazz, and I've noticed the
>>> 
>>> following odd behaviour: If I tie a note across a manual line break,
>>> and 
>>> the note has an accidental, then the LilyJazz font is not applied to
>>> the 
>>> accidental of the continued note after the line break.
>>> The following snippet shows this:
>> Did you try the alternative approach using openLilyLib's Stylesheets library?
>> 
>> Urs
> 
> OK, just checked it.
> 
> Provided you have
> - LilyJAZZ "installed" in LilyPond's font directory
> - openLilyLib and its /ly subdirectory in LilyPond's include path
> then
> 
> \include "openlilylib"
> \useLibrary Stylesheets
> \useNotationFont LilyJAZZ
> 
> will make your example work properly. You should remove the \jazzOn.
> 
> HTH
> Urs
> 
>> 
>>> % %
>>> 
>>> \version "2.19.34"
>>> \include "LilyJAZZ.ily" % <-- path to LilyJAZZ file ...
>>> 
>>> \score {
>>>  \new Staff {
>>> 
>>>\key ees \major
>>>\time 4/4
>>>\jazzOn
>>> 
>>>\relative c'' {
>>>  < des e, fis, >1 ~
>>>  \break
>>>  q8
>>>}
>>>  }
>>> }
>>> 
>>> % %
>>> 
>>> I tried this (on a Mac) with v2.19.18 and 2.19.34. I also tried it with
>>> 
>>> 2.18.2, where the issue doesn't come up because the accidentals are not
>>> 
>>> shown after the line break.
>>> 
>>> Does anyone know of a way to fix this? Maybe there's a new additional 
>>> accidental type that I need to set? Right now, I have overrides on the 
>>> objects Staff.Accidental, Staff.AccidentalCautionary, and 
>>> Staff.AccidentalSuggestion. Is there a new one in v2.19? I didn't find 
>>> any in the internals reference ...
>>> 
>>> If it can't be fixed easily, how can I turn off the accidental after 
>>> break? I tried
>>> \override Staff.Accidental.after-line-breaking = ##f
>>> but that didn't change anything.
>>> 
>>> Any help would be appreciated!
>>> 
>>> Thanks,
>>> Cheers, Robert
>>> 
>>> 
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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Malte,

Thanks for the reply!
That sounds very good, actually - I'll give it a try tonight. 

Best, Robert 




> On 25 Jan 2016, at 10:21, Malte Meyn  wrote:
> 
> 
> 
>> Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
>> 
>> One more thought: My original approach of simply \include-ing LilyJAZZ 
>> should be the standard way of using it. Which makes me think, that there's 
>> either something missing in LilyJAZZ to work in v2.19 ... or a bug in 
>> Lilypond.
> 
> Since version 2.19.12 vanilla LilyPond supports other music fonts like
> LilyJAZZ. So the “standard way of using” has changed in this version;
> you don’t need any include files anymore but something like
> 
> \paper {
>  #(define fonts
>(set-global-fonts
>#:music "lilyjazz"
>#:brace "lilyjazz"
>#:roman "lilyjazz-text"
>#:sans "lilyjazz-chord"
>#:factor (/ staff-height pt 20)
>  ))
> }
> 
> The openlilylib stylesheets are just files which switch the font but
> also do some other changes (slur, stem, barline thicknesses, text fonts, …).
> 
>> Shouldn't I notify the bug team of this and if so, how do I do that?
> 
> I don’t think it’s a bug because Lily has this new way of using music
> fonts and doesn’t need the old hacks anymore ;)
> 
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Re: Font of accidentals changes after line break

[Robert Schmaus]

Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with 
an error message "fatal error: cannot find font: `LilyJAZZ-11'"


Well, the font is there, as the output of
lilypond -dshow-available-fonts x
shows.

I'll just stick to the old \include method after all, and try to get rid 
of the after-break accidentals ...


Thanks again,
Robert




Am 25/01/16 um 10:21 schrieb Malte Meyn:



Am 25.01.2016 um 10:00 schrieb Robert Schmaus:


One more thought: My original approach of simply \include-ing LilyJAZZ should 
be the standard way of using it. Which makes me think, that there's either 
something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond.


Since version 2.19.12 vanilla LilyPond supports other music fonts like
LilyJAZZ. So the “standard way of using” has changed in this version;
you don’t need any include files anymore but something like

\paper {
   #(define fonts
 (set-global-fonts
 #:music "lilyjazz"
 #:brace "lilyjazz"
 #:roman "lilyjazz-text"
 #:sans "lilyjazz-chord"
 #:factor (/ staff-height pt 20)
   ))
}

The openlilylib stylesheets are just files which switch the font but
also do some other changes (slur, stem, barline thicknesses, text fonts, …).


Shouldn't I notify the bug team of this and if so, how do I do that?


I don’t think it’s a bug because Lily has this new way of using music
fonts and doesn’t need the old hacks anymore ;)

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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Malte,

sorry for the late reply - I wasn't at my computer after my mail yesterday.
But yes, that's where the fonts are. The path is not quite the same as I 
work on a Mac, but I guess


/Applications/Lilypond/v19/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf

counts as "same path" in this case.
There are two files: LilyJAZZ.otf and LilyJAZZText.otf

I haven't changed anything else (like conf files etc).



Am 25/01/16 um 21:38 schrieb Malte Meyn:



Am 25.01.2016 um 21:20 schrieb Robert Schmaus:

Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with
an error message "fatal error: cannot find font: `LilyJAZZ-11'"

Well, the font is there


Where exactly? LilyPond looks only at the directory where
Emmentaler/Feta is located. In my case, that is

/usr/local/lilypond/usr/share/lilypond/current/fonts/otf

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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Abraham,

Ah, that explains it indeed! You're right of course.

I guess the missing fonts are to be found on 
https://fonts.openlilylib.org ... which seems to be currently 
unavailable, alas. But I'll check back, and see if I can get them. I 
understand, there's also more information on how to use the fonts.


Thanks for the help!
Best,
Robert








Am 26/01/16 um 21:12 schrieb tisimst:

Robert,

Let me see if I can clarify the confusion going on here. You are using
the LilyJAZZ font files/stylesheets that were originally published by
Torsten Hämmerle. You are using them correctly, but the stencil
overrides found in the stylesheet don't account for everything. Some
stencils are created deeper under the covers and are harder to
override/replace. You've discovered one of them related to accidentals.

What Urs, Malte, etc., are all talking about is the work that I did more
recently than Torsten to make LilyJAZZ work *natively* like Emmentaler
(i.e., without needing that extra stylesheet for all the stencil
overrides). The new font files are called "lilyjazz-11.otf",
"lilyjazz-13.otf", etc. These files need to be installed in the folder
you referenced (.../share/lilypond/current/fonts/otf) in order for
LilyPond to find them. By default, LilyPond doesn't look at the system
font folder for the music fonts, only the text fonts. The original
"LilyJAZZ.otf" you are using will not work with the framework of this
newer functionality. It is in a different encoding and doesn't contain
some necessary metadata.

HTH,
Abraham

On Tue, Jan 26, 2016 at 12:24 PM, Robert Schmaus [via Lilypond] <[hidden
email] > wrote:

Hi Malte,

sorry for the late reply - I wasn't at my computer after my mail
yesterday.
But yes, that's where the fonts are. The path is not quite the same
as I
work on a Mac, but I guess


/Applications/Lilypond/v19/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf


counts as "same path" in this case.
There are two files: LilyJAZZ.otf and LilyJAZZText.otf

I haven't changed anything else (like conf files etc).



    Am 25/01/16 um 21:38 schrieb Malte Meyn:

 >
 >
> Am 25.01.2016 um 21:20 schrieb Robert Schmaus:

>> Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with
>> an error message "fatal error: cannot find font: `LilyJAZZ-11'"
>>
>> Well, the font is there
>
> Where exactly? LilyPond looks only at the directory where
> Emmentaler/Feta is located. In my case, that is
>
> /usr/local/lilypond/usr/share/lilypond/current/fonts/otf
>
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Re: How to hide or remove the bars connecting an ossia staff to the right hand staff

[Robert Schmaus]

Hello Joe,

It should work fine if you add this to the \with - statement of your 
ossia staff:


\override BarLine.allow-span-bar = ##f

Best,
Robert



Am 27/01/16 um 01:53 schrieb Joseph N. Srednicki:

Hello:

I am engraving an organ piece in which I want to add an ossia staff
above a measure to indicate how to perform an ornament.

I can make the ossia staff appear; however, I cannot determine how to
hide or remove the bar lines that connect the ossia staff to the staff
for the right hand.

I checked the documentation and used the obvious search strings in
Google, but I obviously am missing something.

Would someone kindly point me in the right direction?

Here as a two-measure example. The ossia staff appears above the second
measure.

The attached PNG file shows the rendered score with annotation on the
bar lines that I want to hide.

I am running Lilypond with Windows 10.

Here is the code:

\version "2.19.35"

\language "english"

global = {

   \key c \major

   \time 4/4

}

rightOne = \relative c'' {

   \global

   c4 c c c

   <<

  {c4 c c c}

  \\

  \new Staff = "ossia" \with {

 alignAboveContext = #"right" fontSize = #-2

 \remove "Time_signature_engraver"

 firstClef = ##f

 \override StaffSymbol.staff-space = #(magstep -3)

 \override StaffSymbol.thickness = #(magstep -3)

  }

  {c4 c c c }

   >>

}

rightTwo = \relative c'' {

   \global

   % Music follows here.

   c4 c c c

   c4 c c c

}

leftOne = \relative c' {

   \global

   c4 c c c

   c4 c c c

}

leftTwo = \relative c' {

   \global

   c4 c c c

   c4 c c c

}

pedal = \relative c {

   \global

   c4 c c c

   c4 c c c

}

\score {

   <<

 \new PianoStaff <<

   \new Staff = "right" << \rightOne \\ \rightTwo >>

   \new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }

 >>

 \new Staff = "pedal" { \clef bass \pedal }

   >>

   \layout { }

}

Thanks for looking at this example.

Joe Srednicki



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Re: How to hide or remove the bars connecting an ossia staff

[Robert Schmaus]

You're very welcome!

Just one thing - although in this case it seems not really neccessary, 
it's good practice to reply to the list, mainly so that others can see 
that the problem has been solved. Otherwise, someone else, not realising 
that you already have a solution, might invest time in looking for 
another one.


All the best,
Robert



Am 27/01/16 um 19:21 schrieb Joseph N. Srednicki:

Robert:

Thanks for your response to my inquiry.

The statement that your provided resolved the issue.

Sincerely yours,

Joe Srednicki



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Re: Tuplet with dashed tie

[Robert Schmaus]

Hi Gregor,

your first example doesn't work because what you have in the tuplet is 
in fact not a tie but a slur. Thus, \slurDashed *does* work.


The second example does not work because ties only work between two 
notes of the *same* pitch, therefore you get a warning about c not being 
tied to anything that could terminate the tie ...


Best,
Robert





Am 08/02/16 um 20:58 schrieb Gregor Giesen:

Hi,

how can I write a dashed tie within a tuplet? In the following example
"\tieDashed" is ignored:

{
   \tieDashed \tuplet 3/2 { c' ( e') g' }
}

Alternatively, a tilde also does not work:
{
   \tieDashed \tuplet 3/2 { c' ~ e' g' }
}
Moreover, this yields the warning: unterminated tie.

Thanks in advance,
Gregor



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Re: Frescobaldi on a mac (from a blind user)

[Robert Schmaus]

>> If youy choose this, you need to start that first, then in Frescobaldi’s 
>> Preferences -> Midi settings, choose qsynth from the pop-up list, for player 
>> output.
> 
> And unfortunately you need to do this setup every time, Frescobaldi doesn’t 
> seem to be able to detect QSynth’s MIDI port.

I was struggling with the same problem, but found out recently, that there's a 
way around that. Unfortunately, I'm not at my computer right now, so I can't be 
precise, but I can point you in a direction and be more precise later, if you 
can't figure it out from that. 

In qsynth, open the preferences and choose the MIDI tab. On one of the drop 
down menus (there are two, don't remember which one) you can choose a setting 
which causes the midi port being represented by a name rather than a number. 
That name will stay the same and thus should be remembered in frescobaldi ...

Please post the solution if you figured it out ... Otherwise I'll do it asap ...

Best, Rob 




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Re: Funny LilyPond Score

[Robert Schmaus]

Oh, I like that! I might just make a big band arrangement of this etude and 
give that to our bandleader - I'm sure we'd practice this piece quite often. 

Thanks for posting!


> On 1 Mar 2016, at 20:03, Abraham Lee  wrote:
> 
> Fellow Pond Dwellers,
> 
> Here's a laugh for everyone today. I was browsing through the sea of scores 
> on the web and stumbled across this one. Enjoy!
> 
> Best,
> Abraham
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Re: rhythm shift

[Robert Schmaus]

Hi Gianmaria,

In addition to the completion head engraver (David's mail), I'd pack the notes 
without shift in a variable, like

variable = { a2 b2 }

And use 

r4 \variable r4

or

r8 \variable r8 r4

Or whatever you'd like in the score. 
Just leave out the bar checks, they'll throw warnings ...

Best, Robert

__

The cure for a fallacious argument is a better argument, not the suppression of 
ideas.
-- Carl Sagan


> On 26 Mar 2016, at 01:06, Gianmaria Lari  wrote:
> 
> Hello,
> Is there any automatic tool to shift some lilypond music of a certain rhythm 
> amount? For instance consider the following fragment:
> 
> \time 2/4
> r4 a4 ~ |
> a4 b4 ~|
> b4 r4
> 
>  
> How can I shift (convert) it to:
> 
> \time 2/4
> a2 |
> b2 |
> r4 
> 
>  
> Thank you, g.
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Re: When to Use Pound Signs

[Robert Schmaus]

> On 27 Mar 2016, at 01:30, David Raleigh Arnold  wrote:
> 
> On Sat, 26 Mar 2016 20:42:39 +0100
> David Kastrup  wrote:
> 
>> Jason Silver  writes:
>> 
>>> Anyone have thoughts on how to notate a A minor add 9?
>>> 
>>> I've tried this:
>>> 
>>> chExceptionMusic = {
>>>  1-\markup { \super "add9" } % 1.3.5.9
>>>  1-\markup { "m" \super "add9" } % 1.3.5.9
>>> }
>>> 
>>> with this:
>>> 
>>> chordNames = \chordmode {
>>>  \set chordNameExceptions = #chExceptions
>>>  | a:1.3.5.9 | a:1.3f.5.9 |
>>> }
>>> 
>>> I get an error with the minor add 9.
>> 
>> Please try not making up code on the fly but use the actual code you
>> worked with.  It's rather tricky for readers to figure out genuine
>> errors from typos.  Here chExceptionMusic does not match chException,
>> and anyway, there is no such thing as a:1.3f.5.9.
> 
> Of course there is. Who says no, the chord police?
> 

No, but one of the main programmers of Lilypond who (iiuc) simply wanted to 
point out that a:1.3f.5.9 is not a chord expression that Lilypond could 
interpret (or is it?). In my experience, he tends to have valid opinions of 
these things ...
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Re: Right-to-Left

[Robert Schmaus]

-
Von meinem Fliewatüüt gesendet.

> On 3 Mar 2014, at 23:31, Simon Albrecht  wrote:
> 
> Am 03.03.2014 23:06, schrieb Schneidy:
>> Ok !
>> 
>> Well, please find herewith a first attempt.
>> It's far from perfect; I still cannot find a way to flip all/part of all
>> grobs, but it does the job !
>> Since I don't know how to read arabic nor arabic music please forgive my
>> poor example
>> Cheers,
>> ~Pierre
>> 
>> Hosam.ly 
>> 
>> PS. here's a link you may also be interested in:
>> https://ufal.mff.cuni.cz/~smrz/elixir-thesis.pdf
>> 
>> 
>> 
>> --
>> View this message in context: 
>> http://lilypond.1069038.n5.nabble.com/Right-to-Left-tp160055p160071.html
>> Sent from the User mailing list archive at Nabble.com.
>> 
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> For what I know the point about right-to-left scripts is that the writing 
> isn't simply mirrored, but the glyphs in themselves remain, only to be 
> arranged the other way round. Which I think might have to be implemented at a 
> much more basic level... (In XeTeX this feature is available, so as far as 
> text is concerned, one might take a solution or ideas from there.)
> However this is on text and I don't know anything about music typesetting 
> conventions.


Maybe it's possible to achieve that on the postscript level - something like 
wrapping the position information around the vertical centre. Although I don't 
see how the text/music alignment could be achieved as well ...


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Re: minor chords (and a possible transition to a new topic)

[Robert Schmaus]

So, again, it boils down to whatever works. There's no standard to this, and 
frankly, I've never experienced that as a problem. Jazz music is improvised 
music, and I don't know a jazz musician who has problems "improvising" here as 
well. Everyone has different preferences, sure, but problems reading different 
styles - not at all. 
My own preference for C-Δ7 over, say, Cmmaj7 is simply a question of space: the 
latter takes up WAY too much of it (in particular as this chord often appears 
as a transition between C- and C-7 and uses only half a bar). 

But there's another thing that surprises me in this discussion: I always 
thought that Lilypond is mainly being used and intended for "classical" (exact) 
music. 
Now I have the impression that indeed many use it for jazz sheets as we'll - I, 
myself, use LP only for that, but can't move from version 2.16 to 17 or 18, 
because the possibility to have Staffs accept chord names has been removed.
That is, however a common notation practice in jazz music. Is there an obvious 
replacement for this that I haven't seen yet ... or is no one but me using that 
notation style in LP?

Best, Robert 

-
Von meinem Fliewatüüt gesendet.

> On 17 Mar 2014, at 10:12, Marc Hohl  wrote:
> 
> Am 17.03.2014 01:45, schrieb Jim Long:
>>> I understand the Cmi7, too, but when sketching
>>> some chords on paper during a Jazz session, a simple "-" is
>>> way faster to write than "mi" all the way.
>>> 
>>> So it's rather a matter of personal taste IMHO.
>>> 
>>> Just my 2 cents
>>> 
>>> Marc
>> 
>> With great respect, I beg to add,
>> 
>> Beware of "shortcuts" which are for the benefit of the writer.
>> IMO, engraving decisions should be made for the benefit of the
>> reader.
> 
> Yep, that's true. I was unclear in my answer above: the first
> "Real Book" was a collection of songs written by Steve Swallow.
> He used the "-" sign for the whole book AFAIK.
> After his collection got copied over and over again, most
> musicians got accustomed to this style. So I think it's a matter
> of habit.
> 
> Speaking for myself, I'd prefer a C-7 over a Cmi7, and a C-Δ
> over Cmmaj7. But I can play both ;-)
> 
> Marc
> 
> 
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Re: minor chords (and a possible transition to a new topic)

[Robert Schmaus]

-
Von meinem Fliewatüüt gesendet.

> On 17 Mar 2014, at 11:57, David Kastrup  wrote:
> 
> Robert Schmaus  writes:
> 
>> So, again, it boils down to whatever works. There's no standard to
>> this, and frankly, I've never experienced that as a problem. Jazz
>> music is improvised music, and I don't know a jazz musician who has
>> problems "improvising" here as well. Everyone has different
>> preferences, sure, but problems reading different styles - not at all.
>> My own preference for C-Δ7 over, say, Cmmaj7 is simply a question of
>> space: the latter takes up WAY too much of it (in particular as this
>> chord often appears as a transition between C- and C-7 and uses only
>> half a bar).
>> 
>> But there's another thing that surprises me in this discussion: I
>> always thought that Lilypond is mainly being used and intended for
>> "classical" (exact) music.
>> Now I have the impression that indeed many use it for jazz sheets as
>> we'll - I, myself, use LP only for that, but can't move from version
>> 2.16 to 17 or 18, because the possibility to have Staffs accept chord
>> names has been removed.
> 
> Please don't spread rumors.  It works as before:
> 
> http://lilypond.org/doc/v2.18/Documentation/notation/context-layout-order>
> 
> This has been fixed in 2.17.30, issue 3641.  So it most definitely does
> not preclude you from moving to 2.18 or 2.19.
> 
>> That is, however a common notation practice in jazz music. Is there an
>> obvious replacement for this that I haven't seen yet ... or is no one
>> but me using that notation style in LP?
> 
> N/A
> 
> -- 
> David Kastrup

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Re: minor chords (and a possible transition to a new topic)

[Robert Schmaus]

Oh, I'm sorry. I was looking into the problem some months ago and found a email 
correspondence between David kastrup and others about the removal of the 
"accepts" technique. I have never seen that it was later replaced by this new 
command. 

My apologies!
Also for sending an accidental reply just a couple of minutes ago ...


> Please don't spread rumors.  It works as before:
> 
> http://lilypond.org/doc/v2.18/Documentation/notation/context-layout-order>
> 
> This has been fixed in 2.17.30, issue 3641.  So it most definitely does
> not preclude you from moving to 2.18 or 2.19



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Re: 2. volta - repetition problem

[Robert Schmaus]

Hi Branko,

This works in Lilypond v2.18:

\repeat volta 2 {  c c c c }
\alternative{
  {d d d d}
  { \bar ":..:" d d d d e e e e \bar ":|." }
}

It won't reflect the repeats in midi, but the output looks fine. 
For other versions of lily, you might have to change the arguments of the \bar 
command. 

Best,
Robert 



> On 3 Apr 2014, at 02:29, Branko  wrote:
> 
> just to clear up, what makes problem for me, is that 2. volta, as it is 
> musicexpr in \alternative {} block, so how to put that now as a beginning of 
> another repetition.. Don't know if I am clear enough..
> 
> 
>> On 3 April 2014 01:50, Mark Stephen Mrotek  wrote:
>> Branko,
>> 
>>  
>> 
>> I have looked at your picture and read your message several times. I am not 
>> sure what you want.
>> 
>> Do you want a repeat to start within the second ending? Or to start after 
>> the second ending?
>> 
>>  
>> 
>> Mark
>> 
>>  
>> 
>> From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
>> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
>> Branko
>> Sent: Wednesday, April 02, 2014 6:58 AM
>> To: lilypond
>> Subject: 2. volta - repetition problem
>> 
>>  
>> 
>> http://postimg.org/image/feebk5qp1/
>> 
>> please see my screenshot for a better picture of my problem.
>> 
>> I know I can make repeats using:
>> 
>> \repeat volta 2 { musicexpr }
>> 
>> ,but my musicexpr is part of <<>> group because I have two voices.. and 
>> after that few measures continue as a separate music expr., so how would I 
>> tell that repetition to end at the end of my following music expression?
>> 
> 
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Re: Partial bar repeats

[Robert Schmaus]

You can also just place \bar commands wherever you want ...

> On 3 Apr 2014, at 10:24, Peter Toye  wrote:
> 
> A (19th century) engraver has put repeat marks in the middle of the bar 
> (presumably to save ink with 1st/2nd time bars). I'd like to reproduce this - 
> can it be done? I can't see anything about it in the manuals or snippets. 
> 
> Thanks in advance,
> 
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com
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Re: Certain accidentals

[Robert Schmaus]

I think, if you don't specify a key at all, the music will always be "in C" (no 
accidentals at the staff's beginning). Of course the notes have all necessary 
accidentals. 

Best, Robert 

> On 18 Apr 2014, at 04:09, "a.l.f.r.e.d.o"  wrote:
> 
> Hi, everybody. 
> I sometimes have to write many accidentals in a bar and was wondering if 
> there was a way I could write the music in C major and then transpose only 
> the notes I need to be "sharpened" or flattened. 
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Re: Possible bug: grace note/piano staff/repeat

[Robert Schmaus]

Hi Knute,

that's an old lilypond issue - actually, this came up already just a 
couple of days ago, and someone described it in that thread as the "most 
persistent lilypond bug".
So anyway, the way to fix this is simple: put (empty) grace notes in 
*all* voices at the same spot your "real" grace note is.


In your example:


\version "2.18.2"

upper = \relative c' {

| c c c c

\repeat volta 2 {

| \acciaccatura s8 c4 c c c

|

}

}

lower = \relative c {

| c c c c

\repeat volta 2 {

| \acciaccatura d8 c4 c c c

|

}

}

\score {

\new PianoStaff <<

\new Staff {

\clef treble

\upper

}

\new Staff {

\clef bass

\lower

}

>>

}


Best,
Robert



Am 22/04/14 20:15, schrieb Knute Snortum:

I may have found a bug in LilyPond 2.18.2 but since I'm new to
typesetting I want to run it past the list first.

The problem is a grace note that is inside a repeat appears outside of
it.  There seems to be four things that have to happen at once:

 1. Multi staff (Piano Staff in my case).
 2. Repeat
 3. First note of one hand is a grace note
 4. The other hand does not have a grace note.

Here is the shortest source file I could construct that illustrates the
problem.  If I should be doing something differently, please tell me.

\version "2.18.2"

upper = \relative c' {

| c c c c

\repeat volta 2 {

| c4 c c c

|

}

}

lower = \relative c {

| c c c c

\repeat volta 2 {

| \acciaccatura d8 c4 c c c

|

}

}

\score {

\new PianoStaff <<

\new Staff {

\clef treble

\upper

}

\new Staff {

\clef bass

\lower

}

 >>

}


Knute Snortum
(via Gmail)


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Re: How do you re-print instrument names for certain systems?

[Robert Schmaus]

Look for \set Staff.shortInstrumentName in the notational reference - that's 
probably what you're looking for. 

Best, Robert 

> On 19 May 2014, at 23:18, Speldosa  wrote:
> 
> I have a score that looks like this.
> 
> \score
> {
>\new ChoirStaff
><<
>\new Staff
><<
>\set Staff.instrumentName = #"Soprano"
>\new Voice = "S"
>\relative c'{
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 |}
>\new Lyrics \lyricsto "Soprano" { \sopranoWords }
>>>
>\new Staff
><<
>\set Staff.instrumentName = #"Alto"
>\new Voice = "A"
>\relative c'{
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 | 
>c1 | c1 | c1 | c1 |}
>\new Lyrics \lyricsto "Alto" { \altoWords }
>>>
> }
> 
> This results in a score where the words "Soprano" and "Alto" are printed
> before the start of the two staffs for the first system. However, for
> certain subsequent systems, I would like the instrument names to be
> re-printed. How can I accomplish this?
> 
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/How-do-you-re-print-instrument-names-for-certain-systems-tp162582.html
> Sent from the User mailing list archive at Nabble.com.
> 
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Re: compound timesig in all staves?

[Robert Schmaus]

You could put the compound time signature (along with everything else that's 
"global", like key or tempo) in an extra variable, like this

global = {
  \compoundMeter #'((3 2 4))
  % more ...
}

and put \global at the beginning of each staff. That way, any change in the 
global variable is transported to all staffs ... That's how I do it, anyway. 

Best, Robert 


> On 29 May 2014, at 21:16, Orm Finnendahl  
> wrote:
> 
> Hi,
> 
> in the following example, the compound timesignature is only shown on
> the top staff. Is there a mechanism to show it in all staffs with the
> "2+3/4" without wxplicitely having to restate the compundMeter
> statement in each staff?
> 
> --
> Orm
> 
> \version "2.19.5"
> 
> \relative c' {
>  << 
>\new Staff = "timesigs" {
>   \compoundMeter #'((3 2 4)) 
>   \repeat unfold 10 s4 }
>\new Staff { \repeat unfold 10 c4 }
>\new Staff { \repeat unfold 10 c4 }
> }
> 
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Re: music

[Robert Schmaus]

> Else I can only sah
> – Improvise! Improvisation is often underestimated and an extremely valuable 
> way of making music. It does of course depend on the kind of music you’re in: 
> it’s possible to improvise in (almost) every style, but for some it’s more 
> common. And it’s important to have a good teacher, I think.
> – Or learn by heart! It’s what blind musicians do, and most certainly it’s 
> not only a disadvantage of not being able to read sheet music, but it also 
> allows a much deeper understanding of the music, both intellectually and 
> emotionally, than if you only ever read the music from sheets.

+1024 to both of these statements!


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Re: Ticks

[Robert Schmaus]

If you search for "Rhythmic Slashes" within the v2.18 snippets documentation, 
you'll find another way of creating those slashes - that approach has the 
advantage that the slashes will be silent in MIDI. 

Best, Robert 


> On 2 Jul 2014, at 23:06, Francisco Vila  wrote:
> 
> 2014-07-02 22:10 GMT+02:00 Janek Warchoł :
>> 
>> What about
>> 
>> {
>>  c' f' b' g'
>>  \new Voice \with {
>>\consists "Pitch_squash_engraver"
>>\improvisationOn
>>\omit Stem
>>  } {
>>c c c c
>>  }
>>  f'2 g'
>> }
>> 
>> ?
> 
> Ah yes, improvisation notes without the stems. Thank you!
> 
> -- 
> Francisco Vila. Badajoz (Spain)
> www.paconet.org , www.csmbadajoz.com
> 
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Re: How to avoid key change with \transpose ?

[Robert Schmaus]

If you're interested in keeping C major: if you don't supply a key at all, the 
key will be C major before and after transposition. I'm no sure this can be 
done with any other key ...



Best, Robert 

__

In any free society, the conflict between social conformity and individual 
liberty is permanent, unresolvable, and necessary.

Kathleen Norris, novelist and columnist (1880-1966) 

> On 17 Jul 2014, at 04:05, MarcM  wrote:
> 
> Hi Lilyponders,
> 
> I am arranging a Bach Canon for 4 voices to 4 violins.
>  
> Bach_Canon.ly
>   
> Bach_Canon.pdf
>   
> 
> How to keep all voices in C major?
> Making each voice start later 2 beats after the previous voice is easy.
> What's the best way to make all voices stop on the same measure?
> 
> 
> violinIV = \relative c' {
> c4 c8 [ d8 ]  e4 e8 [ f8 ] g4
> }
> 
> violinIII = \relative c'' {
>  r2 \transpose  c g \violinIV
> }
> 
> \violinII = \relative c''' {
>  r2 r2 \transpose  c d \violinIV
> }
> 
> violinI = \relative c {
>  r2 r2 r2 \transpose  c a \violinIV
> }
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/How-to-avoid-key-change-with-transpose-tp164531.html
> Sent from the User mailing list archive at Nabble.com.
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Re: Supporting ♯ and ♭

[Robert Schmaus]

Am 06/10/14 17:37, schrieb MarcM:
> I agree it is not easier to type but any non-techie musician will find this
> easier to read. 

Well, any non-techie musician will probably not be interested in reading
the source file anyway. In my experience, "non-techie musicians" are
impressed with the results of lilypond but rather uninterested in
understanding how to use it - they want to read music, and if they have
to *write* music, they want to use wysiwyg programs.

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Re: how to automatically left-align rehearsal marks at the beginning of a line

[Robert Schmaus]

Hi russ,

Maybe I misunderstood you there, but rehearsal marks should be put at the place 
where they are supposed to appear. 

In your case:

\relative c'' {
  
  \mark \markup "at start of measure" 
  c2 \mark \markup "after 2 beats"  c2 | 

  \break 
  \mark \markup "at start of next measure" c1
}


Best, Robert 

__

You don't get rich writing science fiction. If you want to get rich, you start 
a religion.
-- L. Ron Hubbard 

> On 15 Oct 2014, at 06:11, user3871075  wrote:
> 
> Hello,
> 
> I occasionally have a rehearsal mark fall on the first measure of a line, and 
> I have to manually make it left-aligned so it will print.  (I use small 
> margins.)  However, then I have more manual work if the music layout changes 
> enough that the rehearsal mark is no longer on the first measure of the line. 
>  I typically wait until the very end to do manual layout tweaks to minimize 
> issues like this, but it would be nice not to have to do them at all.
> 
> Here's a snippet which shows the problem in an extreme way:
> 
> \relative c'' {
>   c1 \mark \markup "this should be left aligned" | \break c1
> }
> 
> Is there a setting somewhere for this?  
> 
> Note: I don't want all rehearsal marks left-aligned - just the ones that 
> happen to fall at the beginning of a line.
> 
> The same question could be asked about rehearsal marks that are at the end of 
> a line.  Although the importance is much lower since AFAIK manual tweaking is 
> usually necessary to even get a rehearsal mark at the end of a line.
> 
> Thanks for your help!
> 
> -Russ
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Re: how to automatically left-align rehearsal marks at the beginning of a line

[Robert Schmaus]

Am 15/10/14 15:58, schrieb Pierre Perol-Schneider:
> Hi Russ, Hi Robert,
> 
> 2014-10-15 8:44 GMT+02:00 Robert Schmaus  <mailto:robert.schm...@web.de>>:
> 
> Maybe I misunderstood you there, but rehearsal marks should be put
> at the place where they are supposed to appear. 
> 
>  
> Putting \break before or after a rehearsal mark won't affect anything.
>  

Well, it wasn't about the \break, it was about the fact that the
rehearsal mark in the OP was put *after* the c1. If you want the mark to
appear at the beginning of the first (or any) measure, you'll have to
place it before the first note of that measure. No need to use elaborate
code there ...

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Re: Happy 18th birthday, LilyPond

[Robert Schmaus]

Well, it's called All *Saints* day - you can't get more nebulous (or even 
imaginary) than that. A "Day for celebrating Music", now *that* would be a 
truly global and human thing to celebrate ...

__

The men who radically altered history, the great creative scientists and 
mathematicians, are seldom mentioned [in biographical history], if at all. 
--Martin Gardner

> On 4 Nov 2014, at 05:40, Shane Brandes  wrote:
> 
> Vote early, vote often! Personally, I liked the idea of an All Saints
> day birthday for Lilypond. It is too bad the date is much more
> nebulous than that.
> 
> Shane
> 
>> On Mon, Nov 3, 2014 at 2:21 PM, Chris Crossen  wrote:
>> 
>>> On Nov 3, 2014, at 12:17 PM, Tim Reeves  wrote:
>>> 
>>> 
>>> So Lilypond is old enough to vote in tomorrow's general election! (in the 
>>> US) ;)
>> 
>> And it probably will, several times, in Chicago.
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Re: Alternate chord: maj7 doesn't show up

[Robert Schmaus]

The chord notation c/a stands for "c major triad with an a in bass". Generally, 
you can write "chord / bass note" with this construction, "bass note" being the 
operative word here. So your c/a example works but c:7 / a:7 is actually a 
polychord construct. There's a way to do this in Lilypond (you'll have to 
google it or check the snippets repository) but it's not straightforward or - 
to my knowledge - yet built into the current LP releases. 

Best, Robert 

__

The men who radically altered history, the great creative scientists and 
mathematicians, are seldom mentioned [in biographical history], if at all. 
--Martin Gardner

> On 9 Nov 2014, at 13:37, "Simon Herter"  wrote:
> 
> 
> Hi,
>  
> when I try to add maj7 to an alternate chord, it doesn't show up:
> 
> -
> \version "2.18.2"
> \chords { c/a }
> \chords { c:7/a:7 }
> -
> 
> How can  I get that small 7 next to "A"?
> 
> Simon
> 
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Re: Partitura orquestal

[Robert Schmaus]

Hi Luis,

I'm sure there are Spanish speaking participants on this list, but generally, 
the list language is English, and you'll get more responses to your questions 
if you write them in English.

Alternatively, there might be a Spanish mailing list, too. Sorry, can't help 
you any further ...

Best, Robert 

__

The men who radically altered history, the great creative scientists and 
mathematicians, are seldom mentioned [in biographical history], if at all. 
--Martin Gardner

> On 13 Nov 2014, at 17:27, "Luis F. Gordillo Navarro"  
> wrote:
> 
> Hola a todos,
> 
> este es mi primer mensaje para la comunidad Lilypond aunque hace varios meses 
> que pertenezco a ella.
> 
> Ya he trabajado otras veces con Lilypond, pero siempre obras cortas y para 
> pocos instrumentos o voces. He tenido problemas pero gracias a los manuales 
> he encontrado pronto la solución. La cuestión es que, creyéndome ya dominador 
> de Lilypond, me he dispuesto a transcribir una partitura orquestal y los 
> problemas se suceden uno tras otro. Después de releer los manuales hay varios 
> asuntos que no logro solucionar (no quiero decir con esto que la solución no 
> se encuentre en ellos, que seguro que si)
> 
> El primero de ellos es integrar en un solo pentagrama los pasajes a dos voces 
> de las partes de los violines. Creo que el problema es la forma de 
> estructurar el documento que he utilizado (y ya es tarde para cambiar)
> 
> Otros problemas son: cómo alinear los nombres de los instrumentos a la 
> derecha; o cómo hacer grupos de pentagramas por familias e instrumentos.
> 
> Adjunto en esta petición la primera página de la edición antigua y mi intento 
> de copiarla en Lilypond.
> 
> Espero que podáis ayudarme. Un saludo.
> 
> Luis Fco. Gordillo
> 
> 
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Modify chord names

[Robert Schmaus]

Hi everyone,

I've been using Lilypond for a couple of weeks now, and I have to say 
that I absolutely love it! And the magnitude of knowledge and 
helpfulness in this mailinglist is just amazing.


I have a - possibly rather trivial - problem with chord names.
If I enter e.g. "g:13" and "bes:maj7.11+" in chordmode, the ChordNames 
staff prints "G9/add13" and "Bb^/add#11" (where the "^" is the 
Delta-symbol). What I would like to change (i.e. get rid of) are the "add"s.
Is there a way to e.g. override them with an empty string, something 
similar to the "majorSevenSymbol" attribute?


I can't find it in the manuals ...

Thanks a lot in advance!
Best


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Re: Modify chord names

[Robert Schmaus]

Dear Keith & Paul,

thanks for your responses! I have seen the passage keith mentioned in
the manual, but since - in jazz - one usually deals only with chord
symbols, I didn't see this as the way to go.

paul, thank you for your suggestion which is just what I was looking
for: there's nothing to change, really, but to be more specific about
the chords ...

have a good weekend,
Rob



On Thu, 02 Jun 2011 14:30 -0700, "Paul Scott" 
wrote:
> On Thu, Jun 02, 2011 at 08:51:44PM +0200, Robert Schmaus wrote:
> > Hi everyone,
> > 
> > I've been using Lilypond for a couple of weeks now, and I have to
> > say that I absolutely love it! And the magnitude of knowledge and
> > helpfulness in this mailinglist is just amazing.
> > 
> > I have a - possibly rather trivial - problem with chord names.
> > If I enter e.g. "g:13" and "bes:maj7.11+" in chordmode, the
> > ChordNames staff prints "G9/add13" and "Bb^/add#11" (where the "^"
> > is the Delta-symbol). What I would like to change (i.e. get rid of)
> > are the "add"s.
> > Is there a way to e.g. override them with an empty string, something
> > similar to the "majorSevenSymbol" attribute?
> > 
> > I can't find it in the manuals ...
> 
> I'm not sure where I found this but use g:11.13 instead of g:13 and 
> bes:maj7.9.11+ instead of bes:maj7.11+ 
> 
> HTH
> 
> Paul Scott
> 
> 
> 

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Question about Transposing: Score vs. Midi Output

[Robert Schmaus]

Hello fellow Lilyponderers,

I'm currently typesetting a score for Bigband, i.e. lots of transposing 
instruments. I'm writing everything in concert pitch, so I can check 
everything with the midi output. My initial idea was that I would 
transpose the individual instruments into their desired key, once I have 
finished the concert pitch score.


Recently, I discovered the \transposition command, and had hoped that 
this would actually be an elegant solution: still writing everything in 
concert pitch, but the engraver would set each voice in its correct key. 
So, in the example below, the Tenor would play the same note as the bass 
(modulo octave) but the notes for the Tenor would show d. The Midi file, 
however now has the tenor play b-flat.
So, I still would have to write every instrument in its own key, but 
would have a correct midi output.


My question is: is there an "inverse" command to \transposition, where I 
can write everything in concert pitch, s.t. the midi output will also 
remain in concert pitch, but the score is actually correct?
An alternative would be to use the right \transpose command for each 
instrument but suppress all \transpose directives for the midi output - 
is that possible?


Thanks a lot.
Have a nice sunday,
Robert


\version "2.14.1"

Tenor = \relative c'' {
\clef treble
\transposition bes
c c c c
}

Bass = \relative c {
\clef bass
c c c c
}

\score {
<<
\new Staff \Tenor
\new Staff \Bass
>>
\layout{}
\midi{}
}

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Horizontal scaling of scores

[Robert Schmaus]

Dear Lilyponders,

I'm working on a score and having trouble with the following (probably
not very difficult) issue, which I cannot solve despite having RTFM:

The problem is the height of the full score which contains all
instruments, and which I'd like to print in landscape mode. What I'm
looking for is a layout which basically follows along those lines:

1) How much vertical space is there? (E.g. 15cm.)
2) How much does the score in full (and nicely spaced) size have to be
scaled, s.t. it vertically fits on the page? (E.g. 57%)
3) Now produce the layout for a page, that is stretched by 1/.57
horizontally, then scale the whole thing with 57% and put that on the page.

What's happening right now is that, if space becomes too small, the
space between the staffs is reduced while the notes themselves stay in
their size, s.t. the staffs are just being "pushed into each other".

I'm sure there is a simple answer to that, but what is it? I've provided
an (almost) minimal example below.

Thanks in advance,
Robert


\version "2.14.1"

Opus = { \new Staff { c c' c'' } }

\paper{
#(set-paper-size "a4" 'landscape) 
}

\score {

<<
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
\Opus
>>

\layout{}

}

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Re: Horizontal scaling of scores

[Robert Schmaus]

Hi Janek & Bill,

thanks for your replies! Both do basically what I was trying to get, but 
Janek's suggestion is more elegant.


Just for the record: I have seen the set-global-staff-size before, but 
since there is more than one score in a book, I went with the 
layout-set-staff-size parameter which according to the manual 
(http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Setting-the-staff-size) 
should do the same as the global parameter but just for a single \layout 
directive.
However, if I use the layout-set-staff-size, everything seems to be 
scaled except the spaces between the lines within a staff. That doesn't 
look good at all. That's why I thought the set-***-size parameters just 
control very individual parts of the score.

Anyway, now I'm not sure it's really meant that way.

Also, if I use the set-global-staff-size parameter in a 
book-environment, I get an error in the console ("unexpected SCM_TOKEN") 
but the parameter works anyway ...


Thanks again and best wishes,
Robert




Am 7/12/11 10:09 PM, schrieb Janek Warchoł:

2011/7/11 Robert Schmaus:

What's happening right now is that, if space becomes too small, the
space between the staffs is reduced while the notes themselves stay in
their size, s.t. the staffs are just being "pushed into each other".


I'm not sure if i understood correctly, but maybe
#(set-global-staff-size 15)
?

HTH,
Janek


Am 7/12/11 12:50 AM, schrieb Bill Mooney:
> Hi,
> I'd cheat! :)
>
> #(set-paper-size "a3" 'landscape)
>
> Print the pdf on A4-landscape with 'reduce to page margins' On. Or print
> on A3 then run the output through a photocopier set to reduce to A4.
> Probably not the most elegant LP solution...! but it would keep all the
> musical elements in proportion.
>
> Cheers
> Bill


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Mix of Chordnames and Notes

[Robert Schmaus]

Dear LilyPond fellows,

I'm writing a score for Bigband, which means there are arranged parts as 
well as improvised sequences. In the improvised sequences, one normally 
only provides the chord symbols.
What I have found is a \chord{ } command which produces the chord 
symbols underneath the staff. (However, that command is missing in the 
index of the "complete" LilyPond Syntax manual - does that mean that 
this command is actually deprecated?)


What I'm looking for is a way to have that chord symbol pulled up into 
the staff. In particular, in the full score the chord symbol appears not 
under the staff where it appears, but under *all* staffs.
So, what I really would like is, that, in the following example, the 
chord symbols appear in the 1st and the 3rd staff, either centered in 
the middle or placed at relative height to where the full bar rest is.



\version "2.14.1"
<<
\new Staff \relative c'' {
c c c c
R1
\chords { d1:m7 b1:min7.5- }
}   
\new Staff \relative c'' { e1 e e e }
\new Staff \relative c' {
g4 g g g
R1
\chords { d1:m7 b1:min7.5- }
}   
>>


Anyone know of an easy solution to this?

Thanks in advance!
Robert

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