Re: Lilybin

[Trevor]

LilyPond has been updated to 2.16 and 2.17 on LilyBin.com.

On Sun, Sep 23, 2012 at 2:37 AM, Martin Tarenskeen
wrote:

>
>
> -- Forwarded message --
> Date: Sun, 23 Sep 2012 00:28:00 +0100
> From: Ian Hulin 
> To: lilypond-user@gnu.org
> Newsgroups: gmane.comp.gnu.lilypond.**general
> Subject: Re: Lilybin
>
> Hi Martin,
> On 22/09/12 23:24, Martin Tarenskeen wrote:
>
>>
>> When will www.lilybin.com be updated to use lilypond 2.16 (stable)
>> or 2.17 (devel) ?
>>
>>  Lilybin is layered on LilyPond and is not part of the base project.
> The author is Trevor Dixon (trevordi...@gmail.com).  Either e-mail him
> direct or reply to the original thread entitled "LilyBin Launch" on
> the lilypond-user mailing list.
>
> Cheers,
>
> Ian Hulin
>
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Re: Experimental Web-based Lilypond Editor

[Trevor]

Yes, it's very likely your firewall is crippling it. I'll see if I can
tweak some things to make it work from behind a firewall.

On Wed, Feb 1, 2012 at 4:53 AM, Helge Kruse wrote:

> >> Let me know how it works for you!
> >>
> > It doesn't work here. I tried Internet Explorer 9.0 and Firefox Portable
> 7.0.
> >
> > I see on the right pane no PDF. When I click on Preview, Save, or
> > Download PDF nothing happens. I am behind a firewall. Can this affect
> > the experience?
>
> Just installed Firefox 10.0. Still doesn't work though.
>
> Helge
>
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LilyBin on GitHub

[Trevor]

I finally got around to throwing the code for LilyBin up on GitHub:
https://github.com/trevordixon/LilyBin.

I want to rewrite it soon, mostly to improve the front-end, but I think
I'll also rewrite the server in Go. If you're good at javascript, you may
be able to help some.

Users: please create issues for bugs or feature requests. Non-users: please
do the same. Let me know what might make it useful enough for you or others
to use.
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Re: LilyBin on GitHub

[Trevor]

Thank you for reminding me Federico. I added a LICENSE file (MIT license)
to the repository.


On Tue, May 28, 2013 at 5:49 AM, Federico Bruni  wrote:

> 2013/5/28 Christian Andersson 
>
>> On Tue, May 28, 2013 at 8:37 AM, Trevor  wrote:
>>
>>> I finally got around to throwing the code for LilyBin up on GitHub:
>>> https://github.com/trevordixon/LilyBin.
>>>
>>> I want to rewrite it soon, mostly to improve the front-end, but I think
>>> I'll also rewrite the server in Go. If you're good at javascript, you may
>>> be able to help some.
>>>
>>> Users: please create issues for bugs or feature requests. Non-users:
>>> please do the same. Let me know what might make it useful enough for you or
>>> others to use.
>>>
>>
>> Trevor,
>>
>> Do you mind just saying perhaps one or two words about what LilyBin is,
>> explaining why we should care?
>>
>>
> many of us already know lilybin
> in the github page there's a link to the website:
> http://lilybin.com/
>
> what is missing is a clear statement about the license
> I think that this should be added at least on github, so people who want
> to help know what they are contributing to
>
> thanks Trevor for sharing the code on github!
>
>
>
>
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Re: point-and-click from PDF viewer to lilypond editor

[Trevor]

Not that it'll help your particular workflow, but somebody might be
interested to learn that LilyBin  now does
point-and-click.

On Sat, Jun 6, 2015 at 1:40 AM Federico Bruni  wrote:

> Hi all
>
> Does anybody here use point-and-click from an external PDF viewer
> (either Evince or Xpdf) to the lilypond editor?
> I find it useful when transcribing from a PDF manuscript, because I can
> organize three different windows (manuscript, PDF preview and lilypond
> editor) to work and compare.
>
> The instructions to set up the environment (I'm on Linux, Gnome 3,
> Debian) are here:
>
> http://www.lilypond.org/doc/v2.19/Documentation/usage/configuring-the-system-for-point-and-click
>
> I've tried several editors but none works correctly:
>
> 1. Frescobaldi opens up but the cursor remains where it was previously
>
> 2. Geany always open the first line, first column, whatever I click on
> the PDF
>
> 3. Gedit moves the cursor to the beginning of the correct line (but it
> ignores the column)
>
> 4. Gvim kind of works, because it jumps to the correct line/column.
> It's a bit annoying that I have to change the focus to Gvim window and
> click Enter to finally see the cursor in the right position.
>
> 5. Nano doesn't work. The error is:
> lilypond-invoke-editor (GNU LilyPond) 2.19.21
> Ricevuto SIGHUP o SIGTERM
> failed to invoke editor: /bin/nano "/path/to/file.ly"
>
> This happens with Evince and Xpdf. So it seems independent of the PDF
> viewer.
> Does it depend on the textedit support in each editor?
>
> I'm using the latest lilypond, installed in the home directory.
> I've defined the LYEDITOR variable in ~/.bashrc.
>
> I'm curious to know your experience on this matter.
> Thanks
> Federico
>
>
>
>
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Re[2]: Merging note heads with different pitches. Bug?

[Trevor]

Hi Knute

Rather ugly, but I think this gets close to what you want:

%%% Start %%%
\version "2.21.0"
\language "english"
\relative {
\key fs \minor
\time 3/8
<< { gs'8*30/32[ fss8 s8*1/16 gs8] | } \\ { fs8*31/32[ fs8 s8*1/32 fs8] 
| } >>

}
%%% End %%%

I've not investigated how to remove the unwanted natural.

Trevor

-- Original Message --
From: "Knute Snortum" 
To: "Mark Stephen Mrotek" 
Cc: lilypond-user@gnu.org
Sent: 19/02/2020 22:32:42
Subject: Re: Merging note heads with different pitches. Bug?


Well, it works the same way in 2.18.2, so not a regression.  I was
hoping for something more like

\once \override NoteHead.mergeNoteHeads = ##f

And ideally the fss would be to the left of the fs.  I'm having a heck
of a time making that happen with force-hshifts.

---
Knute Snortum
(via Gmail)

On Wed, Feb 19, 2020 at 11:31 AM Mark Stephen Mrotek
 wrote:


 Knute,

 Don't know about a bug, yet this is a start (not too pretty),

 %%% Start %%%
 \version "2.19.84"
 \language "english"

 \relative {
   \key fs \minor
   \time 3/8
   << { gs'8
\once \override NoteColumn.force-hshift = #2.2
\once \override Accidental.X-extent = #'(1 . 0)
\once \override Accidental.extra-offset = #'(3 . 0)
fss gs } \\ { fs fs fs } >>
 }
 %%% End %%%

 Mark

 -Original Message-
 From: lilypond-user 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Knute 
Snortum
 Sent: Wednesday, February 19, 2020 11:01 AM
 To: lilypond-user@gnu.org
 Subject: Merging note heads with different pitches. Bug?

 Consider this snippet:

 %%% Start %%%
 \version "2.19.84"
 \language "english"

 \relative {
   \key fs \minor
   \time 3/8
   << { gs'8 fss gs } \\ { fs fs fs } >>
 }
 %%% End %%%

 Why does the fss note head get merged with the fs?  Is this a bug?  If not, 
how do I stop it from happening?

 ---
 Knute Snortum
 (via Gmail)

Re[3]: 2.21.1 change of behavior of \compressMMRests?

[Trevor]

Hi Mats

From: "Mats Bengtsson" 


What was the rationale to recommend (and only mention) \compressMMRests instead 
of \compressEmptyMeasures in 
http://lilypond.org/doc/v2.21/Documentation/notation/writing-rests#full-measure-rests?
 In my opinion, it's a bit more cumbersome to use the music function syntax 
than the macro \compressEmptyMeasures, especially for unexperienced LilyPond 
users. The situation with multi-measure note durations, described in your new 
subsection, should be extremely rare in practice (perhaps except in cases where 
the user made a typo in the input). During all my years of lilypond use, I've 
never suffered from the problem and I've used the predecessor of 
\compressEmptyMeasures quite a lot.
The issue which eventually led to this change was originally reported 
here:


https://lists.gnu.org/archive/html/lilypond-devel/2015-03/msg00212.html

so it did apparently affect some users adversely.

Trevor

Re[2]: ties between voices

[Trevor]

Hi Carl


This notation will greatly simplify some of the choral music I set in
the past year.   I forgot about the discussion on the lists, and so
didn't use it even though it was available.  Thanks for making it work

I always use the satb.ly template for almost all of my choral music (see 
A1 Built-in templates in the LM).
It greatly simplifies what needs to be written. It's worth a look if 
you've not used it.


Trevor

Re: grammar in LilyPond

[Trevor]

Freeman, you wrote 17/11/2020 17:35:47


I would like to understand better how names are used LilyPond?
For example, when  Capital letters are used, "-", ".", "_", &c. in 
variables and functions, &c.
I read this sum place, but i can not find it.   If someone knows a 
referans, please tell me?


Is this what you had in mind?

https://lilypond.org/doc/v2.21/Documentation/learning/naming-conventions-of-objects-and-properties



Thank you,  ƒg

Re[2]: how to move a clef horizontally

[Trevor]

Stefan, you wrote 25/12/2020 21:56:18
Subject: Re: how to move a clef horizontally


Dear Thomas and Kieran,
thanks for Your replies.
It seems, that the solution of Thomas works better for me.
I would like to know what

\once \override PianoStaff.NoteColumn.force-hshift = 1.5

does.
The best explanation is here: 
https://lilypond.org/doc/v2.21/Documentation/learning/moving-objects

Scroll down to find it.

Trevor

Re: 2nd stanza lyrics cont.

[Trevor]

Hi Stéphane

You might find it easier to use one of the built-in templates  - see 
appendix A1 of the Learning Manual,


https://lilypond.org/doc/v2.22/Documentation/learning/satb-template

These templates avoid the complications of setting up the score 
structure altogether for most forms of vocal music. I used them all the 
time to prepare music when I was leading a small choir.


Worth a look.

Trevor

-- Original Message --
From: "Stephane Krims" 
To: "lilypond-user@gnu.org" 
Sent: 21/04/2021 18:49:42
Subject: 2nd stanza lyrics cont.


Thank you Remy and Valentin for your replies 🙂

Unfortunately i still can't figure this out.
I tried separating each stanza into different variables, like so:


altoWordsOne = \lyricmode {
\set stanza = "1. "
% first verse and chorus
}
altoWordsTwo = \lyricmode {
\set stanza = "2. "
% second verse
}
altoWordsThree = \lyricmode {
\set stanza = "3."
% third verse
}

...and then squeezing it in here, like so:

\new Lyrics = "bass"
\context Lyrics = "tenor" \lyricsto "tenor" \sopWords
\context Lyrics = "lead" \lyricsto "lead" \altoWordsOne
\context Lyrics = "lead" \lyricsto "lead" \altoWordsTwo
\context Lyrics = "lead" \lyricsto "lead" \altoWordsThree
\context Lyrics = "baritone" \lyricsto "baritone" \tenorWords
\context Lyrics = "bass" \lyricsto "bass" \bassWords

However, this still lead to an error message, something about a 
conflict or rejection of an event. What is going on now?


Thanks,
Stéphane

Re[2]: \compressMMRests, compressEmptyMeasures or \compressFullBarRests?

[Trevor]

Harm wrote:


Well, not exactly.
\compressMMRests compresses MMRs in the following music-espression,
which may be some longer sequential music. It is _limited_ to MMRs.
\compressEmptyMeasures compresses MMRs and other long durations until reverted:

m = {
  \override Score.BarNumber.break-visibility = ##(#f #t #t)
  R1*2 R1*3 b\longa c'1*3 s1*2
  \bar "||"
}

{ \compressMMRests \m \m }
{ \compressEmptyMeasures \m \expandEmptyMeasures \m }

\compressFullBarRests is no longer valid syntax in recent versions.


There's a third variety than expresses more clearly how \compressMMRests
was intended to be used:

{
\compressMMRests {
    \m \m }
}

Trevor

Re: SATB.Ly template and putting lyrics below the staff

[Trevor]

Hi Colin, you wrote 08/03/2022 00:39:10:


I've just discovered Trevor Daniels' satb.ly system, and huge kudos to him! 
I've tweaked a bit by adding   \consists Merge_rests_engraver to a Layout 
variable, but I'm wrestling the lyrics a bit. By default, they come out aligned 
above context; how can I get them below?
Thanks for the kudos! When I ran a choir I used satb.ly for pretty well 
all the music we used.


But I don't understand your difficulty - the lyrics are aligned below 
their staff by default, except when two voices are combined on one 
staff, see the examples at 
https://lilypond.org/doc/v2.23/Documentation/learning/satb-template .


Could you please post an example showing your problem.

Trevor

Re[2]: feathered beam calculations

[Trevor]

 "Reggie"  wrote 21/12/2018 19:10:12

\relative c'
{
  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 2/1)
  c32[ d e f g f e f d f g f d e d f] c4~c | c1 |
}

My CODE has no errors. And yet the 2/1 does NOT space out any notes at ALL
it's just normal beamed notes with fancy feathers. What math do I need how
does one even know what math to use since there are no bar bad checks? See?
:))
I'm sure in an earlier note you were told to include brackets round the 
music

because otherwise \featherDurations affects only the first note.

Try this

\relative c'
{
  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 2/1) {
c32[ d e f g f e f d f g f d e d f]
  }
  c4~c | c1 |
}
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Re: Problems defining markup function to draw lines.

[Trevor]

Mike, you wrote 22/12/2018 04:15:03

Our choir has developed some "in-house" markings which I'm trying to 
replicate in LilyPond. One is the use of a double slash to visually 
indicate the last section of a piece when the musical pattern changes 
for that last part.


I can replicate that by using a markup like the following:

a2^\markup { \with-dimensions #'(0 . 0) #'(0 . 0) \path #0.3 #'((moveto 
5 -2) (lineto 7 2) (moveto 6 -2) (lineto 8 2)) }

Could you shortcut this by using a caesura mark?

http://lilypond.org/doc/v2.19/Documentation/snippets/expressive-marks#expressive-marks-breathing-signs

Trevor
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Re: Make dynamic script with long text

[Trevor]

-- Original Message --
From: "Andrew Bernard" 
To: "lilypond-user Mailinglist" 
Sent: 10/01/2019 12:12:19
Subject: Make dynamic script with long text

Using make-dynamic-script generally works well for me. But now I need 
to have "pp e cresc...". This is all well and good, except I would like 
the dynamic text to run across the span barlines. The following MWE 
shows what I have. The text shies away from the span barline and pushes 
things around. I want it to just overlay the bar line as though the 
line was not there.


As a small explanation, in this context the composer uses span barlines 
as 'beat lines' not bars. This is why the set Timing.measureLength is 
there. Because of this, I am aware that I may be having here a system 
that is far from the norm, and so trying to use make-dynamic-script in 
a context it was not conceived for, but I do wonder if anybody can help 
out. Perhaps I am missing something very simple.


I do want to use a dynamic and not just markup, as I get all the 
advantages of alignment and so on if it is a dynamic.


Andrew

%==
\version "2.19.82"

ppecrescText = \markup {
  \normal-text \italic "pp e cresc ..."
}
ppecresc = \tweak DynamicText.self-alignment-X #LEFT
#(make-dynamic-script ppecrescText)

violinOne = {
  \time 6/4
  \set Timing.measureLength = #(ly:make-moment 1/4)

  \override DynamicLineSpanner.outside-staff-padding = #5

  \override Beam.positions = #'(-5 . -5)
  g''8. d'''16_\ppecresc ~|
  d'''4 ~
  d'''
}

violinTwo = {
  g'4 _~
  g' _~
  g'
}

\score {
  \new GrandStaff
  {
<<
  \new Staff { \violinOne }
  \new Staff { \violinTwo }
>>
  }

  \layout {}
}
%==


Here's one way:

ppecresc = \tweak DynamicText.self-alignment-X #LEFT
  \tweak DynamicText.right-padding = -10
#(make-dynamic-script ppecrescText)

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Re[2]: Make dynamic script with long text

[Trevor]

Apologies, I rattled the previous reply off too quickly.

This is what I'd mis-remembered:

ppecresc = \tweak DynamicText.self-alignment-X #LEFT
  \tweak DynamicText.extra-spacing-width #'(0 . -10)
#(make-dynamic-script ppecrescText)

Trevor

-- Original Message --
From: "Andrew Bernard" 
To: "Trevor" 
Cc: "lilypond-user Mailinglist" 
Sent: 10/01/2019 14:10:16
Subject: Re: Make dynamic script with long text


Hi Trevor,

Really? Makes no difference at all in my MWE. Even afer correcting for 
the '=' sign in the tweak. Did you try it? What do I not see a result?


Andrew



On Thu, 10 Jan 2019 at 23:35, Trevor  wrote:



-- Original Message --
From: "Andrew Bernard" 
To: "lilypond-user Mailinglist" 
Sent: 10/01/2019 12:12:19
Subject: Make dynamic script with long text

Using make-dynamic-script generally works well for me. But now I need 
to have "pp e cresc...". This is all well and good, except I would 
like the dynamic text to run across the span barlines. The following 
MWE shows what I have. The text shies away from the span barline and 
pushes things around. I want it to just overlay the bar line as 
though the line was not there.


As a small explanation, in this context the composer uses span 
barlines as 'beat lines' not bars. This is why the set 
Timing.measureLength is there. Because of this, I am aware that I may 
be having here a system that is far from the norm, and so trying to 
use make-dynamic-script in a context it was not conceived for, but I 
do wonder if anybody can help out. Perhaps I am missing something 
very simple.


I do want to use a dynamic and not just markup, as I get all the 
advantages of alignment and so on if it is a dynamic.


Andrew

%==
\version "2.19.82"

ppecrescText = \markup {
  \normal-text \italic "pp e cresc ..."
}
ppecresc = \tweak DynamicText.self-alignment-X #LEFT
#(make-dynamic-script ppecrescText)

violinOne = {
  \time 6/4
  \set Timing.measureLength = #(ly:make-moment 1/4)

  \override DynamicLineSpanner.outside-staff-padding = #5

  \override Beam.positions = #'(-5 . -5)
  g''8. d'''16_\ppecresc ~|
  d'''4 ~
  d'''
}

violinTwo = {
  g'4 _~
  g' _~
  g'
}

\score {
  \new GrandStaff
  {
<<
  \new Staff { \violinOne }
  \new Staff { \violinTwo }
>>
  }

  \layout {}
}
%==


Here's one way:

ppecresc = \tweak DynamicText.self-alignment-X #LEFT
  \tweak DynamicText.right-padding = -10
#(make-dynamic-script ppecrescText)

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Re[2]: Make dynamic script with long text

[Trevor]

Andrew, you wrote 11/01/2019 00:50:24
Subject: Re: Make dynamic script with long text

Here is an interesting technical documentation issue, which is that I 
had no idea this has anything to do with extra-spacing-width, and only 
hit on it after long searches of the web and the archives, then based 
on somebody's guess. Somehow there needs to be some _explanatory_ 
document that actually explains these concepts in lilypond, because in 
this case and others, it's non-obvious (to my dim consciousness). I'd 
seriously offer to write such a text, but I am exactly the wrong person 
to do so because I am the one that is baffled still in general by these 
internals.
You're right that there is little specific documentation about 
extra-spacing-width. It is mentioned only briefly in the Learning 
Manual:


see http://lilypond.org/doc/v2.19/Documentation/learning/moving-objects

The problem is that there are far too many of these properties to 
document any but a tiny fraction of them with detailed explanations and 
examples. The approach we, the documentation writers, adopted was to 
attempt to teach people through the Learning Manual how to find 
pertinent properties for themselves by using the Internal Manual. Pretty 
well the whole of section 4 of the LM is devoted to showing users how to 
do this.


For example, look up TextScript in the All layout objects of the 
Internals Manual:


http://lilypond.org/doc/v2.19/Documentation/internals/textscript

There you'll find extra-spacing-width and Harm's recipe for setting the 
width of an object to zero.


Reading and understanding section 4 of the LM will greatly help you with 
your understanding (I hope; at least that was my objective!)


Actually, as to your last point about being baffled, it was my being in 
exactly that position several years ago that prompted me to write most 
of the LM. I reasoned that as I was in the same position as most new 
users I was well-placed to document the initial stages of learning to 
use LilyPond as I myself discovered them. That gradually lead to an 
understanding of the internals and the LM was the result.


Trevor
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Re: Springs and rods

[Trevor]

Andrew Bernard wrote 18/01/2019 04:33:12
Subject: Springs and rods


Yet another annoying question about documentation from me.

After figuring out how to make a glissando longer, and discovering this 
in the NR under the spanner interface:


minimum-length (dimension, in staff space)
Try to make a spanner at least this long, normally in the horizontal 
direction. This requires an appropriate callback for the 
springs-and-rods property. If added to a Tie, this sets the minimum 
distance between noteheads.


I can only ask and I think reasonably where is this mystical 
springs-and-rods mechanism explained? Why does one need to do this:


  \override Glissando #'minimum-length = #4
  \override Glissando #'springs-and-rods = 
#ly:spanner::set-spacing-rods
This is acknowledged to be sub-optimal. AIUI, it stems from the multiple 
uses
of the 'minimum-length property. It is used in several interfaces, 
including

lyric-hyphen, multi-measure-rest, etc, as well as spanner. Some of these
require the additional override to work correctly; others don't. The 
solution
would be to separate out the two types of use of the 'minimum-length 
property
into two separate properties, one incorporating set-spacing-rods, but 
the
difficulties involved in doing that seem severe as it's at least 6 years 
since this
was discussed as an issue. I don't understand what the  complexities are 
- maybe

one of the devs could explain further. But in the expectation this would
eventually be fixed (and so the need for documentation  obviated) it has 
never

been documented properly.

Trevor


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Re: Tie minimum length

[Trevor]

Andrew, you wrote 18/01/2019 14:19:08
Subject: Tie minimum length


The NR for 2.19.82 in section 3.2.128 'tie interface' states:

I think you mean the IR.


min-length
If the tie is shorter than this amount (in staff-spaces) an 
increasingly large length penalty is incurred.


But if I use this an error is thrown. Using minimum-length works fine.

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


warning: skipping assignment

Is this a mistake in the manual for the name?


No. min-length is a property in the details list.  It must be set like 
this:


  \override Tie.details.min-length = ...

However, it doesn't do what you expect - it merely feeds into the length 
penalty.


To specify a minimum length for the tie you should use minimum-length, 
as you discovered.

This is defined in the spanner-interface, used by Tie.

Trevor


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Re[2]: Use of \vspace and \hspace

[Trevor]

Hi Valentin, you wrote


Well put! I’ve added a few additional objects and turned it into a snippet:
http://lsr.di.unimi.it/LSR/Item?id=1084

This could be a nice addition to the NR itself (not sure exactly
where, but I’ll have to look into it)
"Text markup introduction" in Section 1.8.2 looks like the obvious 
place.


Trevor
ps Nice to see you active on LilyPond again!


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Re[4]: Use of \vspace and \hspace

[Trevor]

Valentin, you wrote 20/01/2019 18:12:07


On 1/20/19, Trevor  wrote:

 "Text markup introduction" in Section 1.8.2 looks like the obvious
 place.


Well, not exactly. As the introduction to "Formatting text", it
describes what markup mode is, but not _where_ or _why_ markup blocks
exist. (Hence the OP’s question.)
That separate question should ideally be dealt with in 1.8.1 (at
least, that was the idea; you may remember that I was the one who
rewrote this whole chapter in 2008, when the User Manual became the
Notation Reference thanks to Graham :-)

This snippet could, for example, appear at the top of 1.8.1, right
before we delve into the specifics of "Text scripts", "Text marks" and
so on. However, just before that (one level higher), I added the
following sentence at the time:
"""
Some text elements that are not dealt with here are discussed in other
specific sections: Vocal music, Titles and headers.
"""
So you see my predicament: I’d have to move this sentence (or remove
it entirely), and possibly add a new ununmberedsubsection at the top
of 1.8.1. Would it make sense to you?

You're right; because \markup can be used in so many different places
and ways a new unnumberedsubsection devoted to it is probably the
best way to give an overview. Specific examples can then appear anywhere
else in the manual, like it does in the snippet in "Separate text" (one 
of

mine, I think :)

Trevor


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Watch indicator

[Trevor]

Hi list

Some time ago someone on the list posted some postscript (I think) which 
drew a pair of spectacles as an indication to a choir to watch the 
conductor. I've tried to find it again, but can't. Does anyone have a 
pointer to it?


Trevor


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Re: Please test new lilypond installers

[Trevor]

Knut Petersen wrote 29/01/2019 09:19:33

Urs Liska provides installers for branch master of lilypond, generated by an 
updated version of our build system GUB:

   https://cloud.ursliska.de/s/QPINwLqJNeVslCu

There you'll find

   lilypond-2.21.0-1.darwin-ppc.tar.bz2
   lilypond-2.21.0-1.darwin-x86.tar.bz2
   lilypond-2.21.0-1.freebsd-64.sh
   lilypond-2.21.0-1.freebsd-x86.sh
   lilypond-2.21.0-1.linux-64.sh
   lilypond-2.21.0-1.linux-ppc.sh
   lilypond-2.21.0-1.linux-x86.sh
   lilypond-2.21.0-1.mingw.exe
   lilypond-2.21.0.tar.gz

Please test if those files provide valid lilypond installations and report 
success / failure by replying to this thread if no identical test results 
already have been posted.
The mingw.exe download appears to work fine in Frescobaldi running under 
Windows 10 Home on Intel Core i7-7500U cpu. I'll continue to use it for 
all future typesetting.


Looking good! Many thanks to David, Knut, Urs and all those involved in 
generating this release!


Trevor
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Fw: Re: text block as spanner

[Trevor]

Leo Correia de Verdier wrote 31/01/2019 09:27:22

I’m still learning lilypond and working on a piece with long text instructions 
that appear over a note or group of notes. So far I have managed to achieve 
this by hacking off the stencils from text spanners and replacing them with the 
line wrapped markup, but I feel there should be a neater solution out there 
that I just haven’t thought or learned about. This hack has also reached it’s 
limits because it has created the need for multiple simultaneous text spanners 
(not in the example). While I could go further down the hack road by placing 
additional spanners in separate voices with spacer rests or starting to destroy 
trill spanners too, that would just increase the mess. Could you please point 
me towards a tidier path? :)

I'm not sure there is one. There is a brief section in the NR (see 
http://lilypond.org/doc/v2.19/Documentation/notation/opera-and-stage-musicals#dialogue-over-music 
) which suggests a very messy workaround, but this is only workable for 
relatively short texts. You may be able to carry this approach further.


As this is a common requirement for stage musicals it's possible Kieren 
has a solution. Kieren?


Trevor


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Re[2]: Slur with left and/or right arrow head

[Trevor]

Aaron, Harm

Could I please comment on just one feature? The overrides to add or 
inhibit arrow-heads at the left and right ends of the Slur are:


  \override Slur.details.arrow-left = #LEFT
  \override Slur.details.arrow-right = #RIGHT
  \override Slur.details.arrow-left = ##f
  \override Slur.details.arrow-right = ##f

This slightly confused me, especially when I tried

  \override Slur.details.arrow-right = #LEFT

which draws a left-pointing arrow-head at the right end of the Slur. 
Something I don't think anyone would want.


Why not have the simpler and less confusing

  \override Slur.details.arrow-left = ##t
  \override Slur.details.arrow-right = ##t
  \override Slur.details.arrow-left = ##f
  \override Slur.details.arrow-right = ##f

?

Trevor

-- Original Message --
From: "Thomas Morley" 
To: "Aaron Hill" ; "Lukas-Fabian Moser" 


Cc: "lilypond-user" 
Sent: 19/04/2019 22:03:31
Subject: Re: Slur with left and/or right arrow head


Am Di., 16. Apr. 2019 um 23:45 Uhr schrieb Aaron Hill
:


 On 2019-04-16 10:37 am, Thomas Morley wrote:
 > Am Mo., 15. Apr. 2019 um 19:26 Uhr schrieb Lukas-Fabian Moser
 > :
 >>
 >> Folks,
 >>
 >> in
 >> https://archiv.lilypondforum.de/index.php?topic=1744.msg9669#msg9669,
 >> Harm invented a truly wonderful new feature allowing to add an arrow
 >> head to the right end of a Slur (or, for that matter, a Tie,
 >> PhrasingSlur etc.). I reproduce it here with only trivial changes
 >> (mainly omitting parser/location).
 >>
 >> Now I also need slurs with arrows pointing to the left (and ideally,
 >> also the option to have an arrow tip at both ends of the Slur). At
 >> first
 >> glance the asymmetry favoring the right hand side of a Slur seems to
 >> be
 >> hard-coded pretty deeply in Harm's code. Is there a cheap way to add a
 >> choice of "left or right end" (if not even the "or/and" possibility)?
 >>
 >> Best
 >> Lukas
 >
 > Hi Lukas,
 >
 > I started to implement the functionality, finally I more or less
 > rewrote anything.
 > As David K once said: rewriting all means at least knowing where the
 > bugs are...

 Harm,

 There is an annoying optical issue where using the angle of the curve at
 the end points does not work well for an arrow head that partially
 overlaps the curve.  Instead, one needs to consider the slope of the
 curve a little inwards from the ends so that the arrow appears to be
 aligned properly.

 I took a stab at patching your code to address this.  This involved some
 additional computational work for various metrics of a Bezier curve.
 See the attached files.

 Among the things I changed is that the code that adds the arrows to the
 ends of the curve no longer applies an offset.  This offset was strictly
 horizontal which did not work well for more heavily rotated arrows.
 Instead, the offset is done within the code that computes and rotates
 the arrow, so that the center of rotation is properly defined.


Hi Aaron,

meanwhile I think I understand more about Beziers, many thanks for
your and David's explanations.
Also, I looked entirely through your code and probably understood how
you do things.

As already said I stumbled across some procedures being called over
and over, also I asked myself why we need the entire length of the
Bezier, if we are interested only in a short part at start/end.
So I wrote a procedure (relying on `split-bezier´ from
bezier-tools.scm), where the Bezier is splitted, i.e. two sets of new
control-points are returned.
For those new control-points the direct line between first and last
point is calculated. If this is lower than a certain treshold, we have
control-points for a Bezier where we can calculate the angle,
otherwise it continues to recurse until the goal is reached. Relying
on start/end of the original Bezier it's first or last of the new
points, which now can serve for calculating the angle.

Function-calls are drastically reduced, performance time is reduced
and code simplified imho.

One thing I noticed are not so nice printed arrows for short Beziers
like Repeat/LaissezVibrerTie.
Likely due to the width of the arrowhead, _within_ this width the
Bezier is "too active", so to speak.


In general I've found your function to calculate a point on the Bezier
and to calculate an angle at a certain point of the Bezier _very_
helpful.
What do you think adding it to bezier-tools.scm?

Attached the newest code.

WYT?

Thanks,
  Harm

@ Lukas
Up to now I didn't tackle the arrow-left/right LEFT/RIGHT thing, I
first wanted to fight my way through the code for Beziers.
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Re: How to proofread?

[Trevor]

"Jinsong Zhao" wrote 30/11/2019 15:35:23


It's may be some off topic. After a long struggle, I have nearly done the input 
of a sheet music. Then, I need to proofread it.

Generally, I split the screen into left and right frames, and put the score 
that Lilypond output and the original one into each frame, and read/compare 
notes one by one.

Is there any other ways you prefer to do proofread?
I usually check the entry with the original after completing each part 
on each system (I usually work with SATB four-part harmony using 
Frescobaldi for note entry). Then, at the end, I listen to the Midi and 
finally I print it and play it through carefully on a piano.


HTH, Trevor

Re[2]: Beam issue

[Trevor]

Hi Raj

Alternatively, you can set beamHalfMeasure to #f to allow normal beaming
(all 6 quavers beamed in 3/4) except when the beam would start
mid-measure. See NR 1.2.4 towards the end:

\relative a' {
  \time 3/4
  r4. a8 a a |
  \set Timing.beamHalfMeasure = ##f
  r4. a8 a a |
}

This preserves the normal beaming of quavers as Gould recommends except
for this situation.

Trevor


-- Original Message --

From "Jakob Pedersen" 

To lilypond-user@gnu.org
Date 23/09/2023 20:17:15
Subject Re: Beam issue


Hi Raj

I don't know why Lilypond does what it does, but you can achieve what
you desire by using

\overrideTimeSignatureSettings 3/4 1/4 1,1,1 #'() \time 3/4

in stead of just \time 3/4

Best wishes,
Jakob

On 23.09.2023 20.32, Rajesh Baskar wrote:

Hi,

In a normal musical notation when you have a time signature of 3/4 and
have a dotted note, eighth note, eighth note and an eighth note - that
the first eighth note should have "no beam". This is how other
software like MuseScore and Finale works. Why does Lilypond do this? I
know there is a \noBeam markup but in my case this is be difficult to
use as I'm dynamically generating the notation.

Any advise will be helpful. See the attached image for illustration.

Thanks,
Raj

\version "2.22.2" \language english \header { tagline = ##f }
\score {\new Staff
{\set Staff.midiInstrument = #"acoustic grand" \key c \major
\time 3/4 \clef bass e,4. d,8 c, e, \bar "||"} \layout { \context {
\Score proportionalNotationDuration = #(ly:make-moment 1/2) } } \midi
{ \tempo 1 = 72}}






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Re[2]: edition-editor usage

[Trevor]

Hi EE-Users

I thought I'd try to bring the edition engraver into use over the 
holiday period, so I cloned edition-engraver and oll-core from git-hub 
into a local repository, placed that in Frescobaldi's include path and 
tried to compile the first example in edition-engraver.  It fails with 
the message:


C:/Users/tdani/openlilylib/oll-core/package.ily:57:2 <0>: error: GUILE 
signaled an error for the expression beginning here

#

(if (not (defined? 'openlilylib-root))



C:/Users/tdani/AppData/Local/Temp/frescobaldi-u9vnw1qc/tmpuqjcysah/example-1.ly:35:1 
<1>: error: unknown escaped string: `\loadPackage'




\loadPackage edition-engraver

Before I spend time investigating this further, I'm wondering if the 
edition-engraver is known to work within Frescobaldi on Windows 10 with 
LilyPond 2.19.80.  Are there any such users?


Alternatively, any ideas what I might be doing wrong?

Trevor


-- Original Message --
From: "Jan-Peter Voigt" 
To: lilypond-user@gnu.org; "Mason Hock" 
Sent: 24/12/2017 10:19:48
Subject: Re: edition-editor usage


Hello Mason,

it is possible to use \shapeII with the edition-engraver :-)
And it sounds like this is the use case the EE is originally meant for.

Yes, the wording is a bit inconsistent and/or irritating. I will try to 
sum it up:
In the recent versions I used the terms target and context to divide 
two dimensions. The target names the requested output like for example 
'fullscore' or 'violinI-part'. If you "activate" an edition-target with 
\addEdition violinI-part it uses all modifications that look like
\editionMod violinI-part{ 
\shapeII ... }


This is a real example I used inside the piano reduction:
\editionMod klavier 38 0/8 chor.ten.TenorStaff \once \shapeII #'(()(0 . 
1)()()) Slur

It means:
with edition-target 'klavier' (the piano reduction) in measure 38 the 
first eighth apply the shapeII-command inside the context identified by 
'chor.ten.TenorStaff'.
Moments are counted zero-based, so the first moment is zero. This might 
irritating on first sight, but it is meaningful as the distance from 
the beginning of the measure. The context in the example above is the 
tenor staff inside the choir-staff.


I think the main point is understanding the three dimensions:
1. the edition-target - that is the condition if to apply the 
modification ... apply this modification for the score of type T(arget)
2. the edition-context - that is where to apply the modification ... 
the LilyPond context like Voice, Staff, Score etc.
3. the time - that is the musical timestamp when to apply the 
modification ... moment X inside measure Y


HTH

I will send more details and information soon!
But for today and tomorrow I wish you a merry Christmas and all the 
best for 2018!


Jan-Peter


Am 23. Dezember 2017 20:09:29 MEZ schrieb Mason Hock 
 <mailto:masonh...@gmail.com>:

I have a piece in which each performer reads from a version of the score
with their staff full-sized with the other parts on small staves. This
pieces also requires a lot of manual tweaking of slurs.

I've been using \shapeII for the slurs, which works great, except that
if I shape the slur correctly for the full-sized version of the part it
is shaped incorrectly for the small version of the part and vice versa.
In order for the slurs to look good in both situations I need two sets
of \shapeII tweaks.

edition-editor looks like a promising solution, but I'm having trouble
learning how to use it. The only documentation I can find is the usage
examples here.

https://github.com/openlilylib/edition-engraver/tree/master/usage-examples

Each example is very specific, which makes it difficult to decode how
edition-engraver works in general. I guess my questions are

(1) Will edition-engraver work for tweaking slurs with \shapeII?

(2) If so, what should be my approach in terms of organization? My guess
would be to have 8 editions, a full-size version and small version for
each of the 4 staves, where each pdf uses 1 full-size edition and 3
small editions.

(3) How do I make certain 'editions' (at this point I'm questioning
whether I'm using that term correctly) apply to certain staves in each pdf?

(4) What is the basic syntax for using edition-editor? It's difficult to
tell from the examples in the repo what is the basic syntax and what is
extending it.

Thanks to anyone who can clarify.

Mason





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Re: Holes in spanners for tall notes

[Trevor]

"Caagr98"  wrote 01/01/2018 18:17:37


\repeat volta 2 {R1}
\alternative {
 {a4 a a a a'''' a a a}
 {R1}
}

In this example, the volta is moved very far up because of that one 
note. This is very ugly IMO. Is there any way to insert a hole in the 
line and have the note stick up over the volta?

Yes; this override prevents the spanner from taking part in the
outside staff ordering:

\version "2.19.80"
{
  \override Score.VoltaBracketSpanner.outside-staff-priority=##f
  \repeat volta 2 {R1}
  \alternative {
    {a4 a a a a'''' a a a}
{R1}
  }
}

Trevor


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Re: \new Dynamics spacing

[Trevor]

Hi Dave

You  wrote 06/01/2018 14:27:43:


\version "2.18.2"
\relative c' {
\time 3/8
c4 c16 c
<< { c4 c16 c } \new Dynamics { s32 s\< s\> s\! } >>
}

If you compile this, the \new Dynamics adds a bunch of white space 
between the first two notes. I understand what's happening, i.e. it's 
spacing each silence as the size of a note head. How would I change 
that spacing?



This is probably what you are seeking:

\version "2.18.2"
\relative c' {
  \time 3/8
  c4 c16 c
  <<
{ c4 c16 c }
\new Dynamics {
  \newSpacingSection
  \override Score.SpacingSpanner.spacing-increment = #0.1
  s32 s\< s\> s\!
}
  >>
  \newSpacingSection
  \revert Score.SpacingSpanner.spacing-increment
  c4 c16 c
}

Sorry it's a bit cumbersome - hope you don't have too many to adjust!

You can read about it in the 2.18 manuals here:

http://lilypond.org/doc/v2.18/Documentation/notation/new-spacing-area

Trevor
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Re[2]: Re-direct write processes in Frescobaldi?

[Trevor]

Andrew Bernard wrote on 17/02/2018 08:40:12

Myths about SSD's arise from early days. You have a new computer with 
presumably a current SSD. Such SSD's can sustain petabyte (that's 
petabyte) writes before they fail. If you write a terabyte of 
Frescobaldi data to the disk in a year, which is utterly unreasonable, 
you can expect to get 1000 years use out of it. The electronics in your 
computer will fail sometime in that period. :-) There are admittedly 
other factors relating to hard drive failure, but mechanical drives 
suffer the same factors.


I wish people would relax about this topic or read the extensive 
literature on contemporary drive testing,


Here's a five paragraph summary article on this type of testing:

http://www.zdnet.com/article/worried-about-ssd-wear-you-probably-dont-need-to-be/

There also exist many very learned papers on the same topic, showing 
very high endurance figures for consumer SSD's.
In spite of this my Samsung SSD has started to fail after around 4 years 
fairly intensive use in my main laptop, fortunately just a month after I 
invested in a new laptop (complete with SSD).  When the old SSD warms 
up, after little more than 15 mins use, it fails and causes my laptop to 
crash.  I know it's the SSD as it has the same effect on two laptops 
which are both fine with HDDs.  Of course it could be the electronics in 
the SSD rather than the store itself, but the effect is much the same.  
Nevertheless the benefits far outweigh the dangers - just make sure you 
make frequent backups of anything critical, just as you would with any 
other type of drive.


Trevor
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Re: Lyrics "polyphony"

[Trevor]

Hi Urs, you wrote 20/03/2018 11:32:30

I've come across the need to temporarily split lyrics into two 
"stanzas" (in repeated sections).


The code I am confronted with does this by using some kind of polyphony 
construct, but this ends up creating a new \Lyrics context that is 
added below the lowest staff instead of directly below the original 
Lyrics context:



%%%
\version "2.19.80"

notesA = \relative {
\autoBeamOff
c'' d e d | c8 [ b ] c d c4 g
}

notesB = \relative {
c' d e d | c b c e
}

words = \lyricmode {
A B C D
<<
{
e -- f g
}
\new Lyrics {
E F G
}
>>
C G
}

\score {
<<
\new Staff \new Voice = "upper" \notesA
\new Lyrics \lyricsto "upper" \words
\new Staff \new Voice = "lower" \notesB
>>
}
%%%

How can I make sure the split lyrics end up next to each other?


There is a nuisance with the second associated lyric voice starting too 
late, so you have to compensate somehow, perhaps like this:


\version "2.19.80"

notesA = \relative {
  \autoBeamOff
  c'' d e d | c8 [ b ] c  d  c4 g
}

notesB = \relative {
  c' d e d | c b c e
}

words = \lyricmode {
  A B C
  <<
{
  D e -- f g
}
\new Lyrics \with { alignBelowContext = "LyricsA" }
{
  \lyricsto "upper" { E -- F G }
}
  >>
  C  G
}

\score {
  <<
\new Staff \new Voice = "upper" \notesA
\new Lyrics = "LyricsA" \lyricsto "upper" \words
\new Staff \new Voice = "lower" \notesB
  >>
}

Trevor
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Re[2]: Slurs do not work with Larsen articulations

[Trevor]

Robert Hickman wrote 25/04/2018 19:16:41


It is quite apparent that this wasn't written for random access and I
feel that websites are much more effective and user friendly if they
are.

Whether it is apparent to you or not I can tell you categorically as one
of the original authors what the intention was.  The Learning Manual
was intended to be read sequentially from start to finish to establish
the basic essential knowledge.  The Notation Reference was intended
to be exactly what it's title says - a reference manual to be accessed
directly as needed to look up points of detail - after the Learning 
Manual

has been digested.

This is pretty much what appears as the very first sentence in the NR:

"This manual provides a reference for all notation that can be produced
with LilyPond version 2.19.81. It assumes that the reader is familiar
with the material in the Learning Manual."


"It's easy to wave your hands and say "not good, I
want you all to redo it better" but that will not result in changes
getting done,"

I assume that the project still has contributors who work on the
documentation? It dosn't really matter if they are the original
authors of it. I'm not saying that it is terible, but making some
points about things that confused me, and how they could be resolved.

Actually, not.  The documentation is far from perfect, but no one
is actively working on documentation ATM.  Old stagers like me
sort of lost interest or became discouraged by the battles required to
force changes through the system.

Trevor




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Re[2]: How do I use \tag?

[Trevor]

Maybe slightly simpler:

\version "2.19.82"

bla = -\markup { Bla }

melody = \relative c'' {
  c4 d e f ^\bla
  c4 d e f ^\tag #'a \bla % (1)
  c4 d e f ^\tag #'a \bla % (2)
  c4 d e f ^\tag #'a \bla % (3)
}

\keepWithTag #'a \melody

\removeWithTag #'a \melody

Hopefully this works in 2.18 too.

Trevor

-- Original Message --
From: "Pierre Perol-Schneider" 
To: lyuser.theg...@spamgourmet.com
Cc: "Lilypond-User Mailing List" 
Sent: 15/07/2018 13:39:55
Subject: Re: How do I use \tag?


Hi, Does this help ?

\version "2.18.2"

bla = \markup{Bla}

melody = \relative c'' {
  c4 d e f ^\bla
  c4 d e f \tag #'a {<>^\bla} % (1)
  c4 d e f \tag #'a {<>^\bla} % (2)
  c4 d e f \tag #'a {<>^\bla} % (3)
}

\keepWithTag #'a \melody

\removeWithTag #'a \melody

Cheers,
Pierre

2018-07-15 14:29 GMT+02:00  :

Hello!

Here on the list you showed me that I can better re-use my 
lilypond-code
by using \tag s. Wonderful :) It's only - I don't understand how. 
given

this very simple piece of code:

\version "2.18.2"

bla = \markup{Bla}

melody = \relative c'' {
  c4 d e f ^\bla
  c4 d e f \tag #'a {^\bla} % (1)
  c4 d e f \tag #'a ^{\bla} % (2)
  c4 d e f ^\tag #'a {\bla} % (3)
}

\score {
\new Staff { \melody }
}




I get these errors:

Processing `/home/markus/chor/lilypond/tags.ly <http://tags.ly>'
Parsing...
/home/markus/chor/lilypond/tags.ly:7:22: error: syntax error, 
unexpected '^'

  c4 d e f \tag #'a {
 ^\bla} % (1)
/home/markus/chor/lilypond/tags.ly:7:23: warning: Ignoring non-music
expression
  c4 d e f \tag #'a {^
  \bla} % (1)
/home/markus/chor/lilypond/tags.ly:8:22: error: syntax error, 
unexpected '{'

  c4 d e f \tag #'a ^
 {\bla} % (2)
/home/markus/chor/lilypond/tags.ly:8:23: warning: Ignoring non-music
expression
  c4 d e f \tag #'a ^{
  \bla} % (2)
/home/markus/chor/lilypond/tags.ly:9:23: warning: Ignoring non-music
expression
  c4 d e f ^\tag #'a {
  \bla} % (3)
/home/markus/chor/lilypond/tags.ly:9:13: error: post-event expected
  c4 d e f ^
\tag #'a {\bla} % (3)
/home/markus/chor/lilypond/tags.ly:13:5: error: errors found, ignoring
music expression

\new Staff { \melody }
fatal error: failed files: "/home/markus/chor/lilypond/tags.ly 
<http://tags.ly>"



As you see, I'm more or less guessing around. I somehow expected (1) 
to
work and really can't see what to do. Could you give me a hint, 
please?


--
Markus Grunwald
https://www.the-grue.de/~markus/markus_grunwald.gpg 
<https://www.the-grue.de/~markus/markus_grunwald.gpg>


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Re[2]: How do I use \tag? (lyuser: message 5 of 20)

[Trevor]

From: lyuser.theg...@spamgourmet.com
To: lilypond-user@gnu.org
Sent: 15/07/2018 15:19:54
Subject: Re: How do I use \tag? (lyuser: message 5 of 20)


Hello Trevor


bla = -\markup { Bla }

melody = \relative c'' {
  c4 d e f ^\bla
  c4 d e f ^\tag #'a \bla % (1)
}

\keepWithTag #'a \melody

\removeWithTag #'a \melody

Hopefully this works in 2.18 too.


Yes, it works :) Thank you! Could you please point me to the
documentation of the '-' that you used instead of my '^'? (Or explain 
it

to me)?

I would like to understand the difference, not just copy/paste it...


The three direction indicators, ^, - and _ , are explained here:
http://lilypond.org/doc/v2.19/Documentation/notation/direction-and-placement

The main problem with your original post was not using a "^" instead of 
a "-", but not

having a direction indicator of any sort before the \markup command.

Trevor


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Re[2]: \textLengthOn in polyphony and over MultiMeasureRests

[Trevor]

Urs, you wrote 30/07/2018 11:07:44


Hm, I thought I finally had the solution, based on ideas from an 
earlier post by you and the one by Trevor:



\new Staff \relative {
  <<
{
  \override Staff.NoteColumn.X-offset = 10
  c''2 c
}
\new Voice {
  <>^\markup " A pretty long text that should extend the measure  "
}
  >>
% uncomment to make things break ...
%{
  <<
{
  c8 c c c c2
}
\new Voice {
  <>^\markup " A pretty long text that should extend the measure  "
}
  >>
%}
}


This works perfectly for one measure (and is totally agnostic of what 
happens in the "music" voice), but as soon as you add (uncomment) the 
second measure, things overlap again. Inserting \textLengthOn again 
makes the markup push notes around. So I'm still not moving forward 
here ...


I've not been following this thread closely, so this comment may be 
totally irrelevant, but does this help at all?


http://lilypond.org/doc/v2.19/Documentation/notation/opera-and-stage-musicals#dialogue-over-music

It would suggest:

{
  <<
\new Lyrics \lyricmode {
  "A"4 " pretty long text that should extend the "4*2 "measure"4
  "A"4 " pretty long text that should extend the "4*2 "measure"4
}
\new Staff \relative {
  c''2 c
  c8 c c c c2
}
  >>
}

\paper {
  ragged-right = ##t
}

You could break up the text in other ways, of course.

The other Trevor






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Re: Proprietary Software term

[Trevor]

locked-in?

-- Original Message --
From: "Urs Liska" 
To: "lilypond-user" 
Sent: 18/08/2018 10:53:32
Subject: Proprietary Software term


Hi,

I'm pulling my hair because I don't manage to find a certain term to 
use in an abstract.


We've talked about the issue over and over again, but how do we call it 
when using proprietary software prevents us from changing the tools to 
work with our data/documents? (Well, actually the same effect that 
prevents us to edit LilyPond scores with other programs, although 
that's not for license but only for practical reasons).


Urs



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Re: LilyBin embedded [WAS: New LilyPond website]

[Trevor]

I'm primarily responsible for LilyBin. A year or so ago, Timothy Gu
(copied) and I got LilyPond running in AWS Lambda, which should be able to
handle plenty of traffic. I get 266,667 seconds of free computation time
per month from Amazon. We used 38,094 seconds in January for 18,398
requests, meaning we should be able to handle—very roughly
estimating—100,000 more requests per month. How many visitors does
lilypond.org get?

The LilyBin UI isn't made to be embeddable, but could be made so. I'd
probably recommend just wiring up CodeMirror  and
PDF.js  yourself rather than trying to
show LilyBin in an iframe.

I'll be happy to work with you if you want a LilyBin-powered demo on the
home page!

On Mon, Feb 13, 2017 at 4:52 PM Federico Bruni  wrote:

>
>
> Il giorno lun 13 feb 2017 alle 8:59, David Kastrup  ha
> scritto:
> > John Roper  writes:
> >
> >>  For this to work can someone tell me if it is possible to embed
> >>  lilybin? If not I am not going to bother to try.
> >
> > Maybe crosscheck with the lilybin site owner?  I seem to vaguely
> > remember that we don't link to it from the current LilyPond page
> > because
> > the site owner was worried about his traffic/hosting limits.
> >
> > Embedding lilybin would seem like even more of a traffic generator.
> > Make no mistake: offering that facility would be nice, I am just not
> > sure that the current hoster is prepared to deal with it.
> >
> >
>
> I think that the problem was solved when Scott Miller offered a new
> server for LilyBin:
> https://plus.google.com/+ScottMiller1/posts/e4bAEUjvw36
>
> I hope that Scott read this thread and can confirm (can't find his
> personal email right now).
>
>
>
>
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Reduce LilyPond installation disk size

[Trevor]

To run LilyPond on AWS Lambda for LilyBin, I need to upload a zip file
containing the LilyPond executable and assets, and it must be no larger
than 50 MB. Recent versions of LilyPond unstable are about 52 MB zipped
(zip -r9). Are there any large files in the installation directory I can
delete without breaking anything? Or maybe I could compress executables
better than zip does?

Here's the sorted output of du -ah: http://pastebin.com/HcMkg6f5. There are
some added otf fonts, but removing them didn't change the size of resulting
zip file.
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Re: Reduce LilyPond installation disk size

[Trevor]

--symlink helps a lot! Down to 34M. Thank you.

On Wed, Feb 22, 2017 at 11:59 AM Alexander Kobel  wrote:

> Hi Trevor,
>
> On 2017-02-22 11:31, Trevor wrote:
> > To run LilyPond on AWS Lambda for LilyBin, I need to upload a zip
> > file containing the LilyPond executable and assets, and it must be no
> > larger than 50 MB. Recent versions of LilyPond unstable are about 52
> > MB zipped (zip -r9). Are there any large files in the installation
> > directory I can delete without breaking anything? Or maybe I could
> > compress executables better than zip does?
>
> some suggestions:
>
> 1.) Use the --symlink option for zip, i.e., use
> zip -r9 --symlink archive.zip 
> Otherwise, you end up with multiple copies of identical files in the
> archive.
>
> 2.) Remove some of the language data that you won't use from
> usr/share/locale/.
>
> 3.) Use tar and xz if supported by the server (tar -cJf archive.tar.xz
> ), which brings the "official" 2.19.55 x86_64 binary
> from lilypond.org down to ~24 MB.  (FWIW, the installer is basically a
> bzip2'ed tarball in a shell script wrapper, and weighs ~30 MB.)
>
>
> HTH,
> Alexander
>
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Re:

[Trevor]

It's not hard to hit LilyBin from the command line, but the interface isn't
great. Try curl -X POST -H "Content-Type:application/json"
https://7icpm9qr6a.execute-api.us-west-2.amazonaws.com/prod/prepare_preview/stable
-d '{"code": "% LilyBin\n\\score{\n\t{\n\t\t\\repeat unfold 120 { c4. d e f
}\n\t}\n\n\t\\layout{}\n\t\\midi{}\n}\n"}'.

The response will include an "id" field. You can download the result from
https://s3-us-west-2.amazonaws.com/lilybin-scores/${id}.pdf.

LilyBin used to run on a single server just as Urs described, and after
about 2 years, somebody ran some Scheme code that goofed up the server (rm
-rf . or something). We changed it so compilation happened in an ephemeral
Docker container; now it runs on AWS Lambda.

On Mon, Mar 20, 2017 at 5:14 PM Urs Liska  wrote:

>
>
> Am 20.03.2017 um 17:02 schrieb Jeffery Shivers:
> > On Mon, Mar 20, 2017 at 11:27 AM, Martin Tarenskeen
> >  wrote:
> >> Yes, Lilybin is cool.
> >>
> >> I would like to see some of the functionality of Lilybin - uploading a
> >> lilypond file and downloading the resulting PDF and MIDI files - in the
> form
> >> of a commandline tool, without the fancy GUI webbrowser functionality.
> Would
> >> such a commandline interface to the Lilybin server be possible to
> create?
> > Certainly, I would think. Maybe even for "free" with something like
> > EC2 (though I don't know what the traffic limits are for that without
> > paying).
> >
> > BTW, do you mean a sort of minimal CLI in the browser, or actually a
> > way to reach the server from your own?
>
> Well, I don't know about LilyPond, but it should definitely be quite
> simple to do for someone who has access to a web server running
> LilyPond. Create an HTTP server that takes a LilyPond document as the
> body in a request, process it with LilyPond, return the document. Then
> write a CLI script in any language that takes a LilyPond file as an
> argument and performs the HTTP call.
>
> This could be a really simple app, but of course LilyPond on the server
> would have to be limited for security reasons. I mean, doing harm on the
> server with LilyPond Scheme sounds strange, and I can't imagine anyone
> with the required skills would be doing that, but you'll never know ...
>
> Urs
>
> >> Maybe it's even possible already?
> > I don't think so.
> >
> >> Martin
> >>
> >>
> >>
> >> Op 20 maart 2017 3:59:53 PM schreef Jeffery Shivers
> >> :
> >>
> >>
> >>> On Mon, Mar 20, 2017 at 10:36 AM, Carlos R Martinez <
> car...@sembrare.com>
> >>> wrote:
>  Hello,
> 
>  Is it possible to use lily pond online from a server so I can use
> it
>  on
>  my chromebook!
>  thanks
> >>>
> >>> http://lilybin.com/
> >>>
>  cr
> 
>  ___
>  lilypond-user mailing list
>  lilypond-user@gnu.org
>  https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> >>>
> >>>
> >>> --
> >>>
> >>> Jeffery Shivers
> >>>  jefferyshivers.com
> >>>  soundcloud.com/jefferyshivers
> >>>
> >>> ___
> >>> lilypond-user mailing list
> >>> lilypond-user@gnu.org
> >>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> >>
> >>
> >
> >
>
> --
> u...@openlilylib.org
> https://openlilylib.org
> http://lilypondblog.org
>
>
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Re: lilybin php script (was: Re: (fwd))

[Trevor]

Keep in mind that the pdf and midi files aren't kept on the server for
long; they're deleted, I think, after 24 hours.

On Thu, Mar 23, 2017 at 9:56 AM Martin Tarenskeen 
wrote:

>
>
> > On Wed, 22 Mar 2017, Sven Axelsson wrote:
> >>  You can already do that. just use lilybin -d with a .midi extension
> >>  instead of pdf.
> >
> > Yes, I had understood that, but I still have to do it manually. It would
> not
> > work with the new -a option:
> >
> >   lilybin -a infile.ly outfile.midi
> >
> > will result in a PDF file with the wrong filename extension *.midi
> >
> > But don't worry. I will learn myself a little PHP and will try to improve
> > such details as a personal learning experience :-)
>
> I have added an -m option to specify midi file output to the script.
> After this little modification of Sven Axelson's php script, I am now able
> to do:
>
> lilybin infile.ly
> ---> process infile.ly without downloading from Lilybin server, returns
> an ID for download
>
> lilybin -d ID.pdf
> lilybin -d ID.midi
> ---> download results from Lilybin server
>
> lilybin -a infile.ly outfile.pdf
> ---> upload infile.ly and save as outfile.pdf
>
> lilybin -a -m infile.ly outfile.mid
> ---> upload infile.ly and save as outfile.mid
>
> My main goal was to be able to find a way to work with lilypond files on
> my Android tablet: I have installed termux ( https://termux.com/ ) which
> allows me to install and run python, php, vim (or emacs) and other
> unixtools in a terminal. I have also pip-installed python-ly and have
> copied the lilypond syntax highlighting files for vim to my termux
> installation. Termux also has commands to call a PDF viewer or music
> player from my Android device to view and hear my lilypond scores. All
> this together is enough for me to work on lilypond scores. It's not as
> convenient as Frescobaldi on my Linux and Windows computers, but good
> enough for my purpose :-)
>
> Thank you all, especially Sven.
>
> --
>
> Martin
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Re: change measure's width

[Trevor Daniels]

The change suggested by Graham will space out the
notes more, but if the note length is increased in
this way fewer notes are fitted into the measure, 
which is probably not what you want.


To avoid this, you can internally change the length
of the measure like this:

c4 c c c
\set Score.measureLength = #(ly:make-moment 2 1)
c4*2 c c c

Lily's internal book-keeping will allow as fine 
an adjustment on the spacing as you like, eg


\set Score.measureLength = #(ly:make-moment 1375 1000)
c4*1375/1000 c c c

Note, though, that this will also affect the midi
output.

Trevor
 
- Original Message - 
From: "Graham Percival" <[EMAIL PROTECTED]>

To: "padovani" <[EMAIL PROTECTED]>
Cc: "lilypond-user" 
Sent: Friday, May 16, 2008 5:07 AM
Subject: Re: change measure's width



The easiest way would be to enable proportional notation (see the
chapter on Spacing) and then do
 c4*2
for the doubled notes.

Cheers,
- Graham


On Thu, 15 May 2008 22:55:28 -0300
padovani <[EMAIL PROTECTED]> wrote:


Hi everyone,
Is it possible to change the width (and, proportionally, the space 
between the notes) of two equal measures?


A text based example:


c4 c4 c4 c4 | c4   c4   c4   c4   | c4  c4
c4 c4  |

thanks.


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Re: Custom lyric extender

[Trevor Daniels]

The lyric extender is actually drawn as a long thin box with rounded 
corners.  AFAIK there is no easy way to replace this with any other sort of 
symbol, but maybe someone can prove me wrong.


Trevor

- Original Message - 
From: "Peter Johnson" <[EMAIL PROTECTED]>

To: 
Sent: Wednesday, May 14, 2008 3:16 PM
Subject: Custom lyric extender




I've recently started working with Lilypond (2.11.45, Mac OS X) and am 
hugely

impressed - congratulations to all involved.
My main interest is contemporary vocal and choral music.  Here, one 
commonly

needs to indicate a transition from one phoneme to the next.  It seems
natural to do this with a lyric extender and Kieren MacMillan in
http://www.nabble.com/lyrics-extender-lines-until-the-end-of-the-last-note-of-the-melisma-td11849989.html#a11849989
this post  suggested a way to force an extender right to the next lyric
syllable.  Assuming one isn't using extenders for normal melismas, one can
create a thick line suitably spaced in this way:


\context {

 \Lyrics

   \override LyricExtender #'thickness = #6

   \override LyricExtender #'left-padding = #2

   \override LyricExtender #'right-padding = #2

}

However, composers indicate transitions in many different ways - lines,
dashes, arrows, or double lines, wavy lines - which may be vertically
centered or on the lyric baseline.  How can one customize the lyric 
extender

symbol or create a special function to do this?  Is there a better way
altogether?  I'm no coder and this is just beyond me, but I'm sure someone
out there can help.

Many thanks.

Peter

--
View this message in context: 
http://www.nabble.com/Custom-lyric-extender-tp17232141p17232141.html

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








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Re: question about multiple choir staff's in one system

[Trevor Daniels]

Hi

You have correctly used << .. >> round the staves within each ChoirStaff,
but you have not placed << ..  >> round the several ChoirStaves.  You get
errors in the first attempt as LilyPond does not permit sequential 
ChoirStaves.


The second attempt works because everything is now simultaneous - the
second ChoirStaff is within the << .. >> construct of the first, etc.

However, a more logical arrangement is to make the several
ChoirStaves simultaneous using the << .. >> construct around
all of them, as follows:

\score {
 <<  %  This is the simultaneous construct you missed
   \new ChoirStaff <<
 \staffSoprano
 \staffAlto
 \staffTenor
 \staffBass
   >>
   \new ChoirStaff <<
 \staffSopranoII
 \staffAltoII
 \staffTenorII
 \staffBassII
   >>
   \new ChoirStaff <<
 \staffSopranoIII
 \staffAltoIII
 \staffTenorIII
 \staffBassIII
   >>
 >>
}


- Original Message - 
From: "Yvan Vander Sanden" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, May 17, 2008 9:12 PM
Subject: question about multiple choir staff's in one system



Hi,

i am new at using Lilypond and using jEdit with the lilypondtool to start
working on a score. Basicly things are working very good, but I am trying 
to

work out brackets and braces. I first tried something like this, but that
does not work:

\score {
\new ChoirStaff <<
 \staffSoprano
 \staffAlto
 \staffTenor
 \staffBass
>>
\new ChoirStaff <<
 \staffSopranoII
 \staffAltoII
 \staffTenorII
 \staffBassII
>>
\new ChoirStaff <<
 \staffSopranoIII
 \staffAltoIII
 \staffTenorIII
 \staffBassIII
>>
}

But, In the end I just tried to nest them, because everything else failed,
like this:


\score {
\new ChoirStaff <<
 \staffSoprano
 \staffAlto
 \staffTenor
 \staffBass
 \new ChoirStaff <<
   \staffSopranoII
   \staffAltoII
   \staffTenorII
   \staffBassII
   \new ChoirStaff <<
 \staffSopranoIII
 \staffAltoIII
 \staffTenorIII
 \staffBassIII
  >>
 >>
>>
}

And yes, it worked... but I don't understand why this is correct. The 
other
way seems much more logical. Since i always learn much faster if I know 
WHY

something has to be done in a particular way, I'd love it if someone can
explain this to me.


Regards,

yvan vander sanden








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Haskell module design [was Re: *.mid vs *.midi]

[Trevor Daniels]

Hans Aberg wrote

My hope was to get to the discussion of using in Lilypond Haskell  like a 
"import" construct, which I think might help LilyPond users,  as opposed 
to the current "\include", which I think is more like the  C preprocessor 
"#include", and is trickier to use.




Is this an offer to write the code necessary to incorporate the Haskell 
module design into LilyPond?  If not, why discuss it?


Trevor



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Re: Small crescendo documentation improvement suggestion

[Trevor Daniels]

Interesting!  In versions 2.11.44-1 and 2.11.45-1 on Windows I find exactly 
the opposite - the first example produces a dotted line, the second produces 
a solid line.


I can't try 2.11.46 as it has not yet been released for Windows.

Trevor

- Original Message - 
From: "Arjan Bos" <[EMAIL PROTECTED]>

To: 
Sent: Monday, May 19, 2008 1:07 PM
Subject: Small crescendo documentation improvement suggestion



Hi list,

I just tried to make a "cresc. poco - - -"  crescendo in version  2.11.46. 
Since I had no clue how to do it, I went to the  documentation. And thanks 
to the new structure finding the correct  page was a breeze. It's on page 
<http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Dynamics#Dynamics

>
However, the suggested solution did not work.

This is in the documentation:

\version "2.11.46"
\relative c' {
  \set crescendoText = \markup { \italic "cresc. poco" }
  \set crescendoSpanner = #'dotted-line
  a'2\< a a a a a a a\!\mf
}

And this is what worked

\relative c' {
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'text
\override DynamicTextSpanner #'style = #'dotted-line
a'2\< a a a a a a a\!\mf
}

Is this a bug in LilyPond or in the docs?

Greetings,
Arjan Bos




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Re: grace notes in TimeSig

[Trevor Daniels]

Stefan

The mechanism used for timing means you have to include matching dummy grace 
notes in all parallel contexts.  If you make the following change I think it 
will work as you want:


dreiviertel = {
   \time 3/4
   \grace {s32 s s}  % matching grace timing
   #(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
   #(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
   #(override-auto-beam-setting '(end * * 3 4) 3 4 'Score)
   }

- Original Message - 
From: "Stefan Thomas" <[EMAIL PROTECTED]>

To: "lilypond-user" 
Sent: Thursday, May 22, 2008 3:29 PM
Subject: grace notes in TimeSig



Dear lilypondusers,
I have a problem with TimeSig in connection with grace-notes.
I don't understand why the grace notes why the grace-notes in the below
quoted example appear before the time signature.
It must have to do with the TimeSig function. How can I fix the problem?
Here is the example:
%% begin %%

dreiviertel = {
   \time 3/4
   #(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
   #(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
   #(override-auto-beam-setting '(end * * 3 4) 3 4 'Score)
   }
fourtoms = {  \override Staff.StaffSymbol #'line-positions = #'(-3 -1 1 
3) }

\layout{

 \context {
   \type "Engraver_group"

   \consists "Text_spanner_engraver"
   \consists "Text_engraver"
   \consists "Dynamic_engraver"
   \consists "Axis_group_engraver"
   \name "TimeSig"



 }
 \context {
   \Score \accepts TimeSig}





\context { \RemoveEmptyStaffContext }

   }

global = { \time 2/4 s2 \dreiviertel s2. }

\score {
<<
\new TimeSig  { \override Score.TimeSignature #'style = #'( ) \global }
\new Staff
\relative { \fourtoms \clef percussion  b8 b8 d4 |
\grace {g,32\f\> [ b d\!] } g,2.\p | }



}
%% END %5








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Re: grace notes in TimeSig

[Trevor Daniels]

Stefan Thomas wrote Friday, May 23, 2008 9:04 PM


Hmm,
it's an ugly trick, but it works!


Not really.  You have to ensure the timing of ordinary
notes is correctly maintained in sync in simultaneous
contexts, and you have to do the same for grace notes
(although you can get away without doing so as long as
there are no other events like a time signature change
occuring at the same time).


Shouldn't it added to the collection of
snippets?


It is mentioned in the section which deals with grace
notes for release 2.11, under Known issues and warnings,
but maybe Valentin can generate one based on your
example.

Trevor


2008/5/23 Trevor Daniels <[EMAIL PROTECTED]>:


Stefan

The mechanism used for timing means you have to include matching dummy
grace notes in all parallel contexts.  If you make the following change I
think it will work as you want:

dreiviertel = {
  \time 3/4
  \grace {s32 s s}  % matching grace timing
  #(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
  #(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
  #(override-auto-beam-setting '(end * * 3 4) 3 4 'Score)
  }

- Original Message - From: "Stefan Thomas" <
[EMAIL PROTECTED]>
To: "lilypond-user" 
Sent: Thursday, May 22, 2008 3:29 PM
Subject: grace notes in TimeSig



 Dear lilypondusers,

I have a problem with TimeSig in connection with grace-notes.
I don't understand why the grace notes why the grace-notes in the below
quoted example appear before the time signature.
It must have to do with the TimeSig function. How can I fix the problem?
Here is the example:
%% begin %%

dreiviertel = {
  \time 3/4
  #(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
  #(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
  #(override-auto-beam-setting '(end * * 3 4) 3 4 'Score)
  }
fourtoms = {  \override Staff.StaffSymbol #'line-positions = #'(-3 -1 1 
3)

}
\layout{

 \context {
  \type "Engraver_group"

  \consists "Text_spanner_engraver"
  \consists "Text_engraver"
  \consists "Dynamic_engraver"
  \consists "Axis_group_engraver"
  \name "TimeSig"



 }
 \context {
  \Score \accepts TimeSig}





\context { \RemoveEmptyStaffContext }

  }

global = { \time 2/4 s2 \dreiviertel s2. }

\score {
<<
\new TimeSig  { \override Score.TimeSignature #'style = #'( ) \global }
\new Staff
\relative { \fourtoms \clef percussion  b8 b8 d4 |
\grace {g,32\f\> [ b d\!] } g,2.\p | }




 }

%% END %5








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Re: rests position in otherwise empty measure.txt

[Trevor Daniels]

Hi Bill

The override to position a multi-measure rest is

\override MultiMeasureRest #'staff-position = #-2

Change the -2 as required - the position is measured
in half-staff spaces from the centre line.

You'll find this explained towards the end of section
1.2.2.3 Full measure rests in the 2.11 Notation 
reference, which applies pretty well to 2.10 and is

much improved.

Trevor

- Original Message - 
From: "Bill Mooney" <[EMAIL PROTECTED]>

To: 
Sent: Sunday, May 25, 2008 6:39 AM
Subject: rests position in otherwise empty measure.txt



I am preparing a score for an SATB choir with Organ accompaniment.

The S/A parts and the T/B parts are on two staves (defined with the
"\new ChoirStaff" command) , with the organ on a 'piano' staff below.
(see the \score definition below

The composition begins with two bars of rest for the choir while the
organ plays the introduction.
I am using R1 to put full bar rests in the choir parts.
Can anyone explain how I can get the rests to print on the D and G lines
(treble clef) and the F and B lines (Bass clef) They are defaulting to
F and E, and A and G, respectively (as in the attached png file)
[ie they printing two staff lines either side of the centre line -
I would like them to go one staff line either side]
r2 and r4 rests seem to exhibit similar behaviour, which I would like to
alter as well. Can this be done globally, rather than as an adjustment
for each occurrence?
I have read the manual and all the other docs I can find but I can't
find where to alter this behaviour.
Many thanks for your assistance
Bill M

\version "2.10.33"
\score {
<<
\new ChoirStaff

<<
\new Staff = women
   <<
\set Staff.instrumentName = \markup { \column {"S " "A " } }
   \new Voice =
   "sopranos" { \voiceOne << \global \sopMusic >> }
   
%\global is defined earlier and contains time and key info


   \new Voice =
   "altos" { \voiceTwo << \global \altoMusic >> }
   >>
\new Lyrics = sopranos { s1 }
\new Staff = men
   <<
\set Staff.instrumentName = \markup { \column {"T " "B " } }
   \clef bass
   \new Voice =
   "tenors" { \voiceOne <<\global \tenorMusic >> }
   \new Voice =
   "basses" { \voiceTwo <<\global \bassMusic >> }
   >>
\context Lyrics = sopranos \lyricsto sopranos \sopWords

>>

\new PianoStaff
<<
\set PianoStaff.instrumentName = " Organ  "
\new Staff = "upper"  { << \global \upper >> }
\new Staff = "lower"  { \clef bass { << \global \lower >> } }
>>
>>
\layout {
\context {
% a little smaller so lyrics can be closer to the staff
\Staff
% \override VerticalAxisGroup #minimum-Y-extent = #'(-3 . 3)

 }
  }
   }


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Re: PDF tutorial for offline viewing

[Trevor Daniels]

The best starting point to learn LilyPond the Learning Manual, which is part 
of the 2.11 development release.  Virtually all of this is relevant to the 
stable 2.10 release too.  It is available in html and pdf formats at 
http://lilypond.org.  Follow the link to the development documentation and 
click on Learning Manual.  Right at the top of the resulting page is a link 
to the pdf version.  It is intended to be read sequentially.  Enjoy!


Trevor

- Original Message - 
From: "Benedict J. Yappy" <[EMAIL PROTECTED]>

To: 
Sent: Wednesday, May 28, 2008 11:37 AM
Subject: PDF tutorial for offline viewing



I haven't checked everything out, a total newbie.
However, I haven't enough online time to read tutorial online, so I save 
every
HTML file of it to my flashdisk. It said that the documentation is for the 
one
who has tried, but I hope the section for the newbies can be downloadable 
such

in PDF format...



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

[Trevor Bača]

Hi José,

Valentin & Matt have already given much better responses to this thread.
But, on the chance that what you're really looking for is simply a way to
*externalize* big, complicated \header or \layout or \paper blocks from your
main .ly file, then bear in mind that you can do this:

### BEGIN ###

  \include "my-header.ly"
  \include "my-layout.ly"
  \include "my-paper.ly"

  % real .ly input
  % goes
  % here
  % ...

### END ###


Just in case that's what you were actually after ...

Trevor.



On Thu, May 22, 2008 at 7:30 PM, padovani <[EMAIL PROTECTED]> wrote:

> hi.
> is there a way to put the header, layout and block values as variables?
>
> I woul like to use something like
>
> myheader = \header { . }
> mylayout = \layout {  }
> mypaper = \paper { }
>
> and then call these variables to construct my score...
>
> I tried but I get errors like:
>
> ./instr/comhead.ly:69:8: error: syntax error, unexpected STRING
> tagline = ##f
> ./instr/comhead.ly:70:26: error: unknown escaped string: `\cm'
>   left-margin = 1.5
> \cm
> ./instr/comhead.ly:71:27: error: unknown escaped string: `\cm'
>   right-margin = 1.5
>  \cm
> ./instr/comhead.ly:72:25: error: unknown escaped string: `\cm'
>   top-margin = 0.5
>\cm
> ./instr/comhead.ly:73:28: error: unknown escaped string: `\cm'
>   bottom-margin = 0.5
>   \cm
>
>
> (continues.)
>
> any tips? Or am I doing something stupid?
> thanks
>
>
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Re: Context creation

[Trevor Daniels]

Kieren MacMillan wrote 

Hi Jesse,


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

\version "2.10.33"

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

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


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


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


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


... and if you add an explicit \score you will need an extra set of
braces - one set to delimit the single compound music expression
which is required by the score block, and one set to make the
two statements consecutive.  This can be really puzzling!  (The inner
set is shorthand for \sequential { ... }, a command which is never 
required to be stated explicitly.}


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

 }
}


Hope this helps!
Kieren.


Trevor



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Re: Algorithm to calculate tuplets?

[Trevor Bača]

On Tue, Jun 3, 2008 at 10:09 AM, Myron Marston <[EMAIL PROTECTED]>
wrote:

> I'm working on an application that generates music.  I'd like to use
> Lilypond to
> generate my scores, but I'm having difficulty figuring out the best way to
> produce the proper lilypond notation for the durations of the notes.
> Internally, all of my rhythmic durations are represented as fractions (i.e.
> 1/4
> for a quarter note, 3/8 for a dotted quarter, 1/6 for one note of a quarter
> note
> triplet, etc).  As long as my durations have a power of 2 in the
> denominator,
> it's not difficult to figure out the correct lilypond notation.  But
> tuplets are
> much more difficult, especially when you get into nested tuplets, tuplets
> that
> mix durations (i.e. 8ths and 16ths in the same tuplet), etc.
>
> Does anyone know of an algorithm to convert from fractional representations
> of
> durations to the lilypond 
> format?<http://lists.gnu.org/mailman/listinfo/lilypond-user>



Hi Myron,

The "duration mapping" question you're pointing to is, in my opinion, one of
*the key* questions in the formalized generation of notation.

Warning: personal opinion follows!

Short answer: there is no general algorithm to handle the
numeric-to-rhythmic mapping. Why? Because, although the rhythmic-to-numeric
mapping of some bit of rhythmic notation into a list of floats or rationals
is one-to-one, the numeric-to-rhythmic mapping of a flat list of numeric
values to rhythmic notation is one-to-(infinitely)-many.

We can consider the list [1/12, 1/8, 1/8, 1/12, 1/12, 1/12] as an example.
Do we notate as a 'broken' triplet into which we've inserted to consecutive
eighth notes? Or maybe a measure of 1/12, followed by a measure of 2/8,
followed by a measure of 2/12? Maybe a tuplet of depth 1 as \times 2/3 { c'8
c'8. c'8. c'8 c'8 c'8 }? Or maybe a nested tuplet of depth 2 to 'undo' the
inner prolation as \times 2/3 { c'8 \times 3/2 { c'8 c'8 } c'8 c'8 }?

Any useful numeric-to-rhythmic mapping algorithm will need to pick among the
best of these options ... but what counts as 'best' will likely need
reference to ...

  1. metric context

... or ...

  2. compositional process of derivation

... of both, which are absent from a simplified representation as a numeric
list of values.

Pulling nested structure from a flat list is hard ... without reference to
some other set of structures to guide the fitting process.

Solution: if you want to generate the trees and branches of conventional
rhythmic notation then generate the trees and branches of conventional
rhythmic notation directly. Model dots, brackets, ties and the effects of
time signature denominators as some data structure directly and do
composerly things to that. One published example is the RTree implementation
in OpenMusic.

Modelling rhythmic time as a flat list of floats or rationals shows up all
over everywhere in the literature on computer-assisted and algorithmic
composition. But it's a trade-off: the simplicity of a flat-list
representation of rhythmic time guarantees ambiguity for transcription into
western rhythmic notation in precisely the same way that an unambigous model
of western rhythmic notation guarantees more complex data.

So there's one quite personal opinion on rhythmic modelling: if you want
exact rhythmic notation, generate it directly rather than searching for a
way to apply nested structure to a flat list after the fact.

A final note. If you're willing to round some or all of your numeric values,
then there's a huge literature on quantization available; maybe one of the
best is an article by Paul Nauert in Perspectives of new music based on a
posited notion of performance difficulty:

Nauert, P. (1994). A theory of complexity to constrain the approximation of
arbitrary
sequences of timepoints. Perspectives of New Music, 32(2):226–263.

Though when it comes to quantization I've never been able to shake the
following, nagging question: if you need to quantize at the end of the
generative process ... then what do the intervening steps of your rhythmic
transformation actually *mean*?


Trevor.



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Re: 2008 Community Choice Awards; call for votes

[Trevor Bača]

I've done likewise on Sourceforge ...

Trevor.


On Fri, Jun 6, 2008 at 7:57 AM, Oscar van Eijk <[EMAIL PROTECTED]>
wrote:

> Hi All,
>
> Sourceforge.net has launched the 2008 Community Choice Awards for the
> best open source project.
>
> I'm involved in several projects (not Lilypond; here I'm just a
> user :-), and IMHO LilyPond is an example project in usability,
> documentation and support, so I nominated LilyPond in the category "Best
> Project".
>
> Here's a call to others to do the same: you can vote on
> http://sourceforge.net/community/cca08-nominate
>
> Take care,
> Oscar
>
>
>
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GDP: Renaming NR 3

[Trevor Daniels]

Chapter 3 in the Notation Reference is currently named "Input syntax", but 
the contents in the latest revision of the 2.11 docs are much wider than the 
name implies and I'd like to change it.  The trouble is, the contents are 
rather diverse, being mainly the left-overs from chapters 1 & 2. 
Suggestions very welcome!


[John: hang on with the translations until we decide this!]

Here's an outline of the current contents of the NR:

1. Musical notation
2. Specialist notation
3. Input syntax
Input structure
Useful concepts and properties
Titles and headers
Working with input files
Controlling output
MIDI output
4. Spacing issues
5. Changing defaults
6. Interfaces for programmers

Possibilities:

3. General notation
3. Further notation
3. General concepts
3. General notation and concepts
3. Non-musical notation
3. Miscellaneous topics

Another more radical alternative would be to move "Useful concepts and 
properties" into Chapter 5, leaving just input and output topics in Chapter 
3, which could then be re-organised as:


3. Input and output files [or some such name]
Input structure
Working with input files
Titles and headers
Controlling output
MIDI output

Would this be better?  What might this be called?

Trevor



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Re: numérotation, chiffre de chaque mesure / numbering of each measure

[Trevor Daniels]

See Section 1.2.5.2 "Bar numbers" in the Notation Reference for release 
2.11.  There are examples there that show you how to do this.  Essentially 
you need to add an override:


\override Score.BarNumber #'break-visibility = #all-visible

Trevor

- Original Message - 
From: "Ledocq-Boccart" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, June 07, 2008 4:36 PM
Subject: numérotation, chiffre de chaque mesure / numbering of each measure


Bonjour,

Par défaut, Lilypond numérote la première mesure de chaque portée.
Est-ce possible d'obtenir le numéro de chaque mesure imprimé sur la
sortie pdf. Comment?

Merci pour votre réponse

Charlie


Hi,
The default setting of Lilypond displays the sequential number of the
first measure of each staff.
Is it possible to get that number for each measure printed on the pdf
output?
If yes, how?

Many thanks for answering.

Charlie




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Re: Renaming NR 3

[Trevor Daniels]

Jay Hamilton wrote Saturday, June 07, 2008 2:33 PM


Trevor-
I wouldn't put concepts and a properties later it's information that's 
needed in that order of learning to use the program.


The ordering of material is certainly important in the Learning Manual, 
which is designed to be read sequentially from the beginning, but I don't 
think it's particularly important in a reference manual like the Notation 
Reference.


In fact I'd probably put it first in the 'chapter' and then have the Input 
and Output  follow (pedagogically)


Having said that, one reason for moving it is because that particular 
section needs to talk quite a bit about properties and overrides, whereas 
pretty well all the other sections in NR 3 use only straight-forward 
commands, and none of them require the material that will be presented in 
Useful concepts and properties.  OTOH, it will fit neatly into the Changing 
defaults chapter, perhaps after the Creating contexts section.




Yours-
Jay


Trevor


Jay Hamilton
www.soundand.com

Date: Sat, 7 Jun 2008 09:04:47 +0100
From: "Trevor Daniels" <[EMAIL PROTECTED]>
Subject: GDP: Renaming NR 3
To: "Lily-Devel List" <[EMAIL PROTECTED]>, "Lilypond-User List"

Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original

Chapter 3 in the Notation Reference is currently named "Input syntax", but
the contents in the latest revision of the 2.11 docs are much wider than 
the

name implies and I'd like to change it.  The trouble is, the contents are
rather diverse, being mainly the left-overs from chapters 1 & 2.
Suggestions very welcome!

[John: hang on with the translations until we decide this!]

Here's an outline of the current contents of the NR:

1. Musical notation
2. Specialist notation
3. Input syntax
Input structure
Useful concepts and properties
Titles and headers
Working with input files
Controlling output
MIDI output
4. Spacing issues
5. Changing defaults
6. Interfaces for programmers

Possibilities:

3. General notation
3. Further notation
3. General concepts
3. General notation and concepts
3. Non-musical notation
3. Miscellaneous topics

Another more radical alternative would be to move "Useful concepts and
properties" into Chapter 5, leaving just input and output topics in 
Chapter

3, which could then be re-organised as:

3. Input and output files [or some such name]
Input structure
Working with input files
Titles and headers
Controlling output
MIDI output

Would this be better?  What might this be called?

Trevor





--

Message: 8
Date: Sat, 07 Jun 2008 12:03:44 +0200
From: John Mandereau <[EMAIL PROTECTED]>
Subject: Re: 2008 Community Choice Awards; call for votes
To: Valentin Villenave <[EMAIL PROTECTED]>
Cc: Trevor Ba?a <[EMAIL PROTECTED]>, lilypond-user@gnu.org
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=UTF-8

On 2008/06/06 19:09 +0200, Valentin Villenave wrote:

2008/6/6 Trevor Ba��a <[EMAIL PROTECTED]>:
> I've done likewise on Sourceforge ...

+1!


I'd like to do so, but ugh, non-SourceForge projects may have little
hope with this voting system: if you go to
http://sourceforge.net/community/cca08-nominate and search for
"LilyPond", you'll see all combinations of name and URL used in votes.
I'm afraid this means our votes will be cluttered in that many
instances, unless SourceForge merge duplicates project entries before
counting votes.




I don't like SourceForge at all, but such events are a nice thing for
the community.


I agree, and I'd like to remind us than LilyPond is not just "open
source", it's free software!

Cheers,
John





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Re: accidentals in augmented unisons

[Trevor Daniels]

Hi Luis

The value given to 'right-padding controls the
distance between the pair of accidentals and the
following note.  To adjust the placement of the
individual accidentals you can use various alignment
markup commands (see Appendix B6.2 in the 2.11
Notation Reference).  Here I've used \halign as an
illustration.  The values are far too extreme for
real use, but they show what can be done.  Fractional
values are permitted to give you fine control - these
will need to be set by experiment.  This is rather
messy as the values interact and the units of \halign
are based on the length of the following string.
There may be a better way.  For example, \hspace can
be used to increase the separation of the accidentals.

naturalplusflat = \markup { \halign #-10 { \natural } \halign #-5 { 
\flat } }

\relative c'' {
  \once \override Accidental
#'stencil = #ly:text-interface::print
  \once \override Accidental #'text = #naturalplusflat
  \once \override Score.AccidentalPlacement #'right-padding = #10
  
}

Trevor

- Original Message - 
From: "luis jure" <[EMAIL PROTECTED]>

To: "lilypond-user" 
Sent: Wednesday, June 11, 2008 12:40 AM
Subject: accidentals in augmented unisons




hello list,

i'm using an example from the learning manual to write a chord with an
augmented unison:

naturalplusflat = \markup { \natural \flat }
\relative c'' {
  \once \override Accidental
#'stencil = #ly:text-interface::print
  \once \override Accidental #'text = #naturalplusflat
  \once \override Score.AccidentalPlacement #'right-padding = #1.5
  
}

this works, but i'd like to control the horizontal position of the
natural and flat symbols. i have no idea how i can achieve this, any
help would be greatly appreciated.

best,

lj


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Re: substitution with \movement

[Trevor Daniels]

Graham Percival wrote Thu, 12 Jun 2008 08:48:12 +0200

Arjan Bos <[EMAIL PROTECTED]> wrote:

If it were only for `#' denoted strings, I agree with you, but there  
are plenty of other inconsistencies in the LilyPond syntax that are  
fully understandable from the viewpoint of the program, but make  
almost no sense from the user's.


Have you read the new Learning Manual chapter 5: Tweaks?  I highly
recommend doing so.  It clarifies a lot of things.  I'm willing to
guarantee that every user other than Mats will learn something by
reading LM 5.


It's actually LM 4 Tweaking output.


- Graham


Trevor 




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Re: minimumVerticalExtent & minimum-Y-extent

[Trevor Daniels]

Hi Risto

The \addlyrics construct does have its limitations due to relying on the 
implicit creation of the various contexts, and this seems to be one of them, 
although I would regard this as a bug.


If you specify the contexts explicitly you can use the \with construct, 
which does seem to work as you would like:


{
 <<
   \new Staff {
 \new Voice = "a" {
   R1 c'2 c'
 }
   }
   \new Lyrics \with { \override VerticalAxisGroup
   #'minimum-Y-extent = #'(-0.5 . 20) } {
 \lyricsto "a" {
   Tra la!
 }
   }
   \new Staff {
 \new Voice = "b" {
   c'2 c' c' c'
 }
   }
   \new Lyrics \with { \override VerticalAxisGroup
   #'minimum-Y-extent = #'(-0.5 . 5) } {
 \lyricsto "b" {
   Tra la la la!
 }
   }
 >>
}

- Original Message - 
From: "Risto Vääräniemi" <[EMAIL PROTECTED]>

To: "Mats Bengtsson" <[EMAIL PROTECTED]>
Cc: ; <[EMAIL PROTECTED]>
Sent: Friday, June 13, 2008 8:31 AM
Subject: Re: minimumVerticalExtent & minimum-Y-extent



2008/4/8 Mats Bengtsson :


\layout  {
 \context {
   \Lyrics
 \override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
 }
}

was 'working'.


Yes, but as you have seen, it redefines all Lyric contexts in the score.


Now, how do I keep the 'above default spacing' for the first verse?


To do settings for only one specific instantiation of a context, use the
\with construct:
\new Lyrics \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(0 
.

0) }
 { Here comes the ly -- rics }


I noticed that \override VerticalAxisGroup #'minimum-Y-extent works
with lyrics only in certain conditions.

If the lyrics start at the beginning of the piece it works. However,
if there's a rest before the music and the lyrics begin the
minimum-Y-Extent doesn't seem to work anymore. The global setting
works, of course, but the explicit settings for single voices don't.

Here's an example... There should be a huge gap on top of the first
lyrics. There's not. The setting works with the second lyrics.

 Begin 
\version "2.11.48"

{
   <<
   % Remove the R1 to apply the minimum-Y-extent.
   { R1 c'2 c' }
   \addlyrics {
   \override Lyrics . VerticalAxisGroup #'minimum-Y-extent =
   #'(-0.5 . 20) Tra la! }

   { c'2 c' c' c' }
   \addlyrics {
   \override Lyrics . VerticalAxisGroup #'minimum-Y-extent =
   #'(-0.5 . 5) Tra la la la! }
   >>
}
% END %

It could be that I'm not using the setting correctly. If that's the
case, could someone point me in the right direction?

-Risto


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Re: 2.11.49 - MIDI (again...)

[Trevor Daniels]

There's nothing wrong with the midi part of your
score, but as written this file generates lots of
other errors.  To get the file to compile you need
to move the \score to just before the \relative, as
Graham pointed out, and to enclose each \markup block
in braces - \markup {  }.  It then compiles without
error and produces a midi file.  Don't know if it's
exactly what you intended though.

Trevor

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

To: 
Sent: Monday, June 16, 2008 4:56 AM
Subject: Re: 2.11.49 - MIDI (again...)




\version "2.11.49"

\score {

one =
 ^\markup
   \combine
  \musicglyph #"accordion.accDiscant"
   \combine
  \raise #1.5 \musicglyph #"accordion.accDot"
  \raise #2.5 \musicglyph #"accordion.accDot"

two =
 ^\markup
   \combine
  \musicglyph #"accordion.accDiscant"
   \combine
  \translate #(cons 1 0) \raise #1.5 \musicglyph #"accordion.accDot"
  \translate #(cons -1 0) \raise #1.5 \musicglyph #"accordion.accDot"
  \raise #2.5 \musicglyph #"accordion.accDot"

three =
 ^\markup
   \combine
  \musicglyph #"accordion.accDiscant"
   \combine
  \translate #(cons 1 0)  \raise #1.5 \musicglyph #"accordion.accDot"
  \translate #(cons -1 0)  \raise #1.5 \musicglyph #"accordion.accDot"

four =
 ^\markup
   \combine
  \musicglyph #"accordion.accDiscant"
   \combine
  \raise #0.5 \musicglyph #"accordion.accDot"
  \raise #2.5 \musicglyph #"accordion.accDot"

five =
 ^\markup
   \combine
  \musicglyph #"accordion.accDiscant"
   \combine
  \raise #0.5 \musicglyph #"accordion.accDot"
  \translate #(cons 1 0)  \raise #1.5 \musicglyph #"accordion.accDot"
  \translate #(cons -1 0)  \raise #1.5 \musicglyph #"accordion.accDot"
  \raise #2.5 \musicglyph #"accordion.accDot"

\relative c' {

 <<
 \time 7/8
 \new Staff = "main" {
 \key f \major

%1
 \repeat "percent" 12 { << { d8[ \f \one d' d' d,] d,[( d') d'] }
 \new Staff \with {
 alignAboveContext = "main"
 \override Clef #'stencil = ##f
 \override TimeSignature #'stencil = ##f
 fontSize = #-3
 % Reduce stem length and line spacing to match
 \override StaffSymbol #'staff-space = #(magstep -3)
  }
{ d,,[ ^\markup { \small "For piano accordion" } d' d d] d,[ d' d] }
>>
}
%13
 \repeat "percent" 4 { d,[ d' bes' d,] d,[( d') bes'] } |

%% Basically the rest of my music is just repeated like this, so I'll save
the space and not put it here

 }
>>
}
 \midi {
   \context {
  \Score
  tempoWholesPerMinute = #(ly:make-moment 168 4)

   \remove "Dynamic_performer"
  }
   }
 \layout { }

}



Valentin Villenave wrote:


We can't help you unless you show us some piece of code. Though your
approach seems OK, you may have forgotten something else.


--
View this message in context: 
http://www.nabble.com/2.11.49---MIDI-%28again...%29-tp17845134p17857522.html

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



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Re: Phrasing marks are awesome!

[Trevor Daniels]

Hi Patrick

I'm afraid I don't understand what you have discovered, but have a look at 
LM 2.4.2 and let me know how you think this section might be modified. 
AFAIKS, if you use a phrasing slur "\( .. \)" and leave out the lyrics 
extender the lyrics do not keep proper time, and the extender line is not 
drawn.  If you use an ordinary slur "( .. )" and leave out the extender the 
lyrics keep proper time but the extender line is not drawn.  To keep proper 
time and draw the extender line you need both a slur in the music and a 
double underscore in the lyrics.  Have I missed something?


Trevor

- Original Message - 
From: "Patrick Horgan" <[EMAIL PROTECTED]>

To: 
Sent: Tuesday, June 17, 2008 2:22 AM
Subject: Phrasing marks are awesome!


I just found out that if you use phrasing marks, you don't have to put in 
time extenders in your lyrics!  It makes it so easy!  I wrote all the time 
extenders, then learned about phrasing marks, and now I get to take all the 
time extenders back out!  Can I write a section for the tutorial that will 
save other newbies the frustration I've been going through that could have 
been easily avoided if I'd just understood that they were connected? 
Actually it would probably be in instrument-specific notation/vocal music. 
Now would be a good time to do it while I'm still excited and remember 
before it was obvious.  Oh, and did I mention that lilypond is great!


Patrick








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Re: clefs not shown

[Trevor Daniels]

Stefan

Which version are you using?  When I try it clefs appear as expected in both 
2.11.49 and 2.11.43-2.


Trevor

- Original Message - 
From: "Stefan Thomas" <[EMAIL PROTECTED]>

To: "lilypond-user" 
Sent: Tuesday, June 17, 2008 7:16 PM
Subject: clefs not shown



Dear Lilypond users,
why are the clefs not shown in the below quoted example?

rechts = { \clef "treble" s1*2 \break s1*2 }
links = { \clef bass s1*4 }

\version "2.11.43"
\score {
\new PianoStaff = "Klavier"
   <<
   \new Staff= "rechts"
   \with { \remove "Time_signature_engraver" \remove
"Bar_number_engraver" }
   { \rechts }
  \new Staff = "links" \with {
 \remove "Time_signature_engraver" \remove "Bar_number_engraver" }

   { \links} >>


}

\layout {
  \context {
\Score
\remove "Bar_number_engraver"
  }
  \context  { \Staff \remove Bar_engraver }
}








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Re: clefs not shown

[Trevor Daniels]

Hmm.  I find 2.11.47 also produces clefs as expected.  Maybe the problem 
lies elsewhere.  If you can't spot anything maybe try upgrading to 2.11.49 
in case something in your installation is corrupted.


Trevor

- Original Message - 
From: "Stefan Thomas" <[EMAIL PROTECTED]>

To: "Trevor Daniels" <[EMAIL PROTECTED]>
Cc: "lilypond-user" 
Sent: Tuesday, June 17, 2008 8:38 PM
Subject: Re: clefs not shown



Dear Trevor,
I use version 2.11.47!

2008/6/17 Trevor Daniels <[EMAIL PROTECTED]>:


Stefan

Which version are you using?  When I try it clefs appear as expected in
both 2.11.49 and 2.11.43-2.

Trevor

- Original Message - From: "Stefan Thomas" <
[EMAIL PROTECTED]>
To: "lilypond-user" 
Sent: Tuesday, June 17, 2008 7:16 PM
Subject: clefs not shown



 Dear Lilypond users,

why are the clefs not shown in the below quoted example?

rechts = { \clef "treble" s1*2 \break s1*2 }
links = { \clef bass s1*4 }

\version "2.11.43"
\score {
\new PianoStaff = "Klavier"
  <<
  \new Staff= "rechts"
  \with { \remove "Time_signature_engraver" \remove
"Bar_number_engraver" }
  { \rechts }
 \new Staff = "links" \with {
\remove "Time_signature_engraver" \remove 
"Bar_number_engraver" }


  { \links} >>


}

   \layout {
 \context {
   \Score
   \remove "Bar_number_engraver"
 }
 \context  { \Staff \remove Bar_engraver }
   }








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Re: clefs not shown

[Trevor Daniels]

I should have noticed the problem was in the -second- staff - sorry Stefan 
:(


Trevor

- Original Message - 
From: "Thomas Scharkowski" <[EMAIL PROTECTED]>

To: 
Sent: Tuesday, June 17, 2008 9:49 PM
Subject: Re: clefs not shown



I get clefs in the first system (version 2.11.49), no clefs in system

two.
When I do _not_ remove the Bar_engraver I get clefs in both systems.

Thomas


Dear Lilypond users,
why are the clefs not shown in the below quoted example?

rechts = { \clef "treble" s1*2 \break s1*2 }
links = { \clef bass s1*4 }

\version "2.11.43"
\score {
\new PianoStaff = "Klavier"
<<
\new Staff= "rechts"
\with { \remove "Time_signature_engraver" \remove
"Bar_number_engraver" }
{ \rechts }
   \new Staff = "links" \with {
  \remove "Time_signature_engraver" \remove
  "Bar_number_engraver" }

{ \links} >>


}

 \layout {
   \context {
 \Score
 \remove "Bar_number_engraver"
   }
   \context  { \Staff \remove Bar_engraver }
 }






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Re: Lilypond and CPU cost, system resource exhaust... (was: Strangeerror causes Lilypond refus...)

[Trevor Daniels]

Hi Haipeng

I tried your score on my laptop, running MS Vista, with 2.11.49.  The 
working set was around 127 Mb, and there was no paging.  The original score 
caused Ghostscript to fail due to missing fonts, so I commented out the 
lines which had font-name overrides.  It then compiled successfully and 
produced a pdf of the full score on 3 A3 pages, which looks fine.  It took 
around 2 mins to compile, so about what I would expect.


There are still some minor errors.  The piano change staff causes problems - 
I can't see why.  And four notes have two dynamic markings attached - easily 
fixed.


So try commenting out the fontname overrides - that fixed the problem for 
me - or upgrading to 2.11.49.


Trevor


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

To: "lilypond-user" 
Sent: Sunday, June 22, 2008 8:02 AM
Subject: Lilypond and CPU cost, system resource exhaust... (was: 
Strangeerror causes Lilypond refus...)




Hi,
 I restarted my comuter and then add a virtual RAM to a volume o my hard 
disk, settg the size varying from 1GB to 2GB. Then the score can be 
compile, but very slow, with some errors because of my music codes. But 
I'm wondering why Lilypond takes so many CPU usage and need such a large 
memory to work. What does the error message in the previous email 
mean?Could someone tell me how Lilypond works and why it takes off so many 
system resources? I ever removed my pagfile.sys to let my hard disk 
larger. Other programs can work fine, but LP can't :-)
 But whatever, I'll thank you all for working hard on this software. I'm 
deciding whether I must go to New England Comservatory in USA to study 
composition, because the deans of my school refused me from learning this 
when I entered it as their only blind in 1999. Lilypond is the only tool 
for me to write music. It really helped me a lot!


SINCERELY
Haipeng








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Re: Is my approach sane?)

[Trevor Daniels]

Hi Patrick

Yes, a new \score is the easiest way to introduce a different staff 
arrangement.


Trevor

- Original Message - 
From: "Patrick Horgan" <[EMAIL PROTECTED]>

To: "Mailinglist lilypond-user" 
Sent: Monday, June 23, 2008 10:45 PM
Subject: Is my approach sane?)


I've long wanted the mutopia O Magnum Mysterium transcribed by Jeff Covey 
with apparently much help from jcn to build with any current version of 
lilypond.  With the help of the excellent new documentation and several of 
the people here I have it working fairly well.  I want it to print the 
choral staff followed by each of the individual parts.  I found that I 
could throw in a new \score for each part and it works, but--is it wacky? 
Is there a better way to do it?  I started with something quite old using 
the old style of lyrics and fear that I should have changed things more 
rather than less.  A vastly simplified version follows to illustrate what 
I'm doing in the first 9 bars:


\paper { set-paper-size = "letter" ragged-bottom = ##t }
\version "2.11.49"

global =  { \key aes \major \time 4/4 }

sopranoMelody =  \relative c'' {
   c1 f,2 c' ~ c4 c des des c2 r4
   f des ees f4. f8 f4 c des  c ~
   ( c8[ bes aes g aes bes c aes]  bes[ aes]  aes[ g16 f] g2 ~ g ) f
}

altoMelody =  \relative c' {
   r1 r2 f2 ~ f bes, f'2. f4 ges ges f2 r4
   f des ees f4. f8 f4 c des f2 ( e8[ d] e2 ) f
}

tenorMelody =  \relative c' {
   R1*7 r2 c2 ~ c f,2
}

sopranoLyrics = \lyricmode {
   O ma -- gnum __ my -- ste -- ri -- um
}

altoLyrics = \lyricmode {
   O _ma  -- gnum my -- ste -- ri -- um
   et ad -- mi -- ra -- bi -- le sa -- cra -- men -- tum,
}

tenorLyrics = \lyricmode { O _ma }

sopranoTotal = \simultaneous {
   \new Staff = "soprano" {
   \set Staff.instrumentName = "Soprano"
   \clef "violin"
   \new Voice="soprano"<< \global \sopranoMelody >>
   }
   \context Lyrics = soprano \lyricsto soprano \sopranoLyrics
}

altoTotal = \simultaneous {
   \new Staff = "alto" {

   \set Staff.instrumentName = "Alto"
   \clef "violin"
   \context Voice=alto<< \global \altoMelody >>
   }
   \context Lyrics = alto \lyricsto alto \altoLyrics
}

tenorTotal = \simultaneous {
   \new Staff = "tenor" {
   \set Staff.instrumentName = "Tenor"
   \clef "violin_8"
   \context Voice=tenor<< \global \tenorMelody >>
   }
   \context Lyrics = tenor \lyricsto tenor \tenorLyrics
}

\score { \new ChoirStaff = "choir" << \sopranoTotal \altoTotal \tenorTotal 
 >> }


\pageBreak

\score { \sopranoTotal \layout{ } }

\pageBreak

\score { \altoTotal \layout{ } }

\pageBreak

\score { \tenorTotal \layout{ \context { \Score skipBars = ##t } } }
% EOF


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Re: Inspirational Headwords for Chords section of manual

[Trevor Bača]

On Fri, Jun 13, 2008 at 12:13 PM, Valentin Villenave <[EMAIL PROTECTED]>
wrote:

> 2008/6/13 Carl D. Sorensen <[EMAIL PROTECTED]>:
>
> > 1) I'd like an "Inspirational Headword" for the section on chords.  This
> would be some real music that uses chord names.  It should show how LilyPond
> produces excellent output by means of a fragment of an actual composition.
>  Anybody have one they could share?
> >
> > 2) I'm looking for an inspirational headword for figured bass.  This
> would be a section of actual music notated with figured bass.  Anybody got
> one they could share?
>
> IIRC, our "inspirational" guy used to be known as Trevor B. :-)


True!

But extremely busy ... maybe we can tempt one of the other composers or
other interested parties on the list into working on the next set of
headwords?



-- 
Trevor Bača
[EMAIL PROTECTED]
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Re: syntax question

[Trevor Daniels]

Yes, this is in NR 5, which I haven't started yet, so it's out-of-date and 
full of various FIXME's and TODO's.  There are a couple more sections in NR 
3 to tidy up before I move on to NR 5.


Trevor

- Original Message - 
From: "Graham Percival" <[EMAIL PROTECTED]>

To: "Mats Bengtsson" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>
Cc: " V!ctor Adán " <[EMAIL PROTECTED]>; "Mailinglist lilypond-user" 


Sent: Wednesday, June 25, 2008 9:42 AM
Subject: Re: syntax question



On Wed, 25 Jun 2008 10:33:09 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:


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

This used to be true, but was changed in some previous release.
Probably, this paragraph of the documentation
hasn't been updated since then. Clearly, the sentence should be
removed.


This sentence occurs in the middle of a chapter which has big
"FIXME: still under heavy development" notices.

Trevor will clean this up when he gets to that part.

Cheers,
- Graham





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Re: Using LilyPond with Arabic music

[Trevor Daniels]

Joseph

Many thanks for this.

I know nothing of Arabic music, but something
along the lines of your documentation would
be a useful addition to NR 2 Specialist
notation.

A couple of points, though:

If the example is copied from the pdf the fancy
quote sign on the two re's has to be replaced
with a straight apostrophe.

And more seriously, it seems that semi-flats
in \key, as shown in the example Semai Muhayer,
are incompatible with \midi {}.  If both are
present the following error occurs in 2.11.49:

Interpreting music... C:/Program 
Files/LilyPond/usr/share/lilypond/current/scm/lily-library.scm:135:5:
In procedure ly:book-process in expression (process-procedure book paper 
...):
C:/Program 
Files/LilyPond/usr/share/lilypond/current/scm/lily-library.scm:135:5: Wrong 
type (expecting exact integer): -3/2


The non-integer varies depending on the
precise key signature.

I guess this is a bug, but as it is rather
obscure perhaps you or someone else could
verify it.

Trevor

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

To: 
Sent: Monday, June 30, 2008 1:50 PM
Subject: Using LilyPond with Arabic music




http://www.nabble.com/file/p18194950/arabic.tex arabic.tex
http://www.nabble.com/file/p18194950/arabic.pdf arabic.pdf
http://www.nabble.com/file/p18194950/arabic.ly arabic.ly

Hello,

Some time ago, I put a question on the forum regarding using Arabic music
with LilyPond, and I got some very helpful advice regarding the notating 
of
half-flats and half-sharps. I have created an "arabic.ly" file based on 
that

advice, and to add arabic maqams (modes or scales).I also created
documentation of how to use LilyPond with Arabic music which I'm attaching
and I would like to share with others, in the hope of encouraging the use 
of
LilyPond with Arabic music. I would be happy to get feedback to improve 
this

documentation, and very happy to share it with others, for example if you
think it is useful to make "arabic.ly" part of your product in the future,
and/or to put the attached documentation on your web site, or as an 
appendix

to your documentation etc.

Best Regards

Joseph Harfouch
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Re: Downloading the install file

[Trevor Daniels]

I get the same problem.  It seems the download host download.linuxaudio.org 
(128.173.232.121) is down.  It doesn't respond to a ping.


Trevor

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

To: 
Sent: Tuesday, July 01, 2008 6:47 AM
Subject: Downloading the install file



Hi,

I'm trying to download the install file for windows, but I keep getting 
the

error message "Internet explorer cannot display the web page".

I am using win xp pro, internet explorer 7.

Any ideas?

Thanks,

Peter



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Re: Some Midi Output Problems

[Trevor Daniels]

"grick" wrote Monday, July 07, 2008 3:47 PM

In this way the trumpet sound is audible. But it's not enough. Now the 
chords played by the acoustic piano(default) in the background is too loud 
and cover the instrument armony in most passages.


The question is: how i can decrease the chords volume? (or the opposite, 
how can i increase the trumpet volume instead of lower all the others 
instrument?)


You can reduce the volume of the default piano in the same way, by setting 
midiMinimumVolume and midiMaximumVolume in the piano staff.  Note, though, 
that these controls only take effect on encountering a dynamic mark, so be 
sure you have a mark at the beginning of the piano notes.


BTW, an easier way may be to simply use quieter dynamic marks on the music 
of the instruments you want to reduce - these also affect the MIDI volume.



To do this i use often "staccato" notes (a4-. a4-. a4-. a4-.).

I expect my midi output sound like (a8 r8 a8 r8 a8 r8 a8 r8) but sadly it 
does not interpret them at all and sound like a simple (a4 a4 a4 a4).


I can simple write (a8 r8) version everywhere but the sheet become really 
difficult to read for the performers.


Is there a way to avoid to mantain a double version of the sheets? (one 
for the performers with a4-. version and one for the midi output with a8 
r8 one?)


Sorry, apart from using separate versions I don't know how to do this other 
than by writing a Scheme procedure to add the staccato marks in the midi 
\score block.


Trevor



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Re: Custom noteheads and chords

[Trevor Daniels]

Eric

\tweak may be the command you need.  Have a look at section 4.1.4 Tweaking 
methods in the Learning Manual for release 2.11 to see why this is needed 
and how to use it.  The explanation there applies just as well to release 
2.10.  However, I believe it is not possible to use \tweak in a variable, so 
this might not be quite the answer you want.


Trevor

- Original Message - 
From: "Eric Knapp" <[EMAIL PROTECTED]>

To: "List lilypond-user" 
Sent: Wednesday, July 09, 2008 10:27 PM
Subject: Custom noteheads and chords



Hello,

With the help of a recent thread I have custom noteheads working just
the way I want them except for one detail. I would like to have chords
where each note in the chord has a different custom notehead. Here's
an example.

This works and each note has its own custom notehead.
{
 \noteheadOne c
 \noteheadTwo d
}

This is a syntax error:
{
 < \noteheadOne c \noteheadTwo d >2
}


This is not a syntax error but each note has noteheadTwo
{
 << \noteheadOne c2 \noteheadTwo e2>>
}

Thanks for the help.

-Eric


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Re: Custom noteheads and chords

[Trevor Daniels]

The example in section 4.6.5 of the Learning Manual might be a good starting 
point.


Trevor

- Original Message - 
From: "Eric Knapp" <[EMAIL PROTECTED]>

To: 
Sent: Thursday, July 10, 2008 5:19 AM
Subject: Re: Custom noteheads and chords



Music functions? Ah, ha! That may be the answer. I'm embarrassed to
say it but I actually teach computer programming at a college and I
didn't know about music functions. I think I will be using them a lot
now that I have read about them. I can't believe that I haven't
stumbled on them before. I will try a bunch of experiments and post my
progress.

-Eric (the hopeless newbie)

On Wed, Jul 9, 2008 at 11:00 PM, Carl Sorensen <[EMAIL PROTECTED]> wrote:

Trevor Daniels  treda.co.uk> writes:



Eric

\tweak may be the command you need.  Have a look at section 4.1.4 
Tweaking
methods in the Learning Manual for release 2.11 to see why this is 
needed
and how to use it.  The explanation there applies just as well to 
release
2.10.  However, I believe it is not possible to use \tweak in a 
variable, so

this might not be quite the answer you want.


You can, however, use \tweak in a music function, can't you?

Carl





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Re: Y-coordinates don't work in offset function

[Trevor Daniels]

Jonathan

Try

\version "2.11.51"

fingerOffset =
#(define-music-function (parser location offsets) (pair?)
   #{
 \once \override Fingering #'extra-offset = #$offsets
   #})

% \fingerOffset #'-0.2 #'-0.3 % moves fingering .2 spaces left and .3 down

\relative c''' {
   \override Fingering #'staff-padding = #'()
   \set fingeringOrientations = #'(down)
\fingerOffset #'(0.7 . -3.5)
%\once \override Fingering
%  #'extra-offset = #'(0.7 . -0.6)
  4
\fingerOffset #'(0.7 . 0.0)
  
\fingerOffset #'(0.7 . 3.0)
  2
}
- Original Message - 
From: "Jonathan Kulp" <[EMAIL PROTECTED]>

To: 
Sent: Friday, July 11, 2008 5:33 AM
Subject: Y-coordinates don't work in offset function



Dear Lilyponders,

I'm working on a snippet of guitar music for use as "Inspirational 
Headword" of the fretted strings section of GDP.  The default placement of 
fingerings is not very good, so I'm placing them manually but have tried 
to create a function to help me.  The function is supposed to allow me to 
specify X and Y offset for each fingering.  The problem is that the Y 
offset doesn't work.  The X offset works just fine, and it's very close to 
what I want, but it would really help to get vertical fine-tuning as well.


I've been searching the documentation and experimenting for two hours with 
no luck.  A minimal example appears below, including my function (probably 
where the problem lies).  I've commented out a tweak that does what I want 
using extra-offset adjustment, but I couldn't figure out how to use 
extra-offset in the function (I'm very new at this, clearly...).


If anyone can point out my error and a solution I'd be most grateful. 
Best,


Jonathan
--
Jonathan Kulp
http://www.jonathankulp.com



\version "2.11.51"

fingerOffset =
#(define-music-function (parser location offsetX offsetY) (number? 
number?)

  #{
\once \override Fingering #'X-offset = $offsetX
\once \override Fingering #'Y-offset = $offsetY
  #})

% \fingerOffset #'-0.2 #'-0.3 % moves fingering .2 spaces left and .3 down

\relative c''' {
   \override Fingering #'staff-padding = #'()
   \set fingeringOrientations = #'(down)
\fingerOffset #0.7 #-3.5
%\once \override Fingering
%  #'extra-offset = #'(0.7 . -0.6)
  4
\fingerOffset #'0.7 #'0.0
  
\fingerOffset #'0.7 #'3.0
  2
}



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Re: Some Midi Output Problems

[Trevor Daniels]

You're right (I think), I can't make dynamics work in the ChordMode context 
either.


However, if all you want to do is to silent the chords you can try removing 
the Note_performer, like this:


 \midi {
   \context {
 \ChordNameVoice
 \remove Note_performer
   }
 }


Writing a music function is described in Section 6.1 of the 2.11 docs.  Be 
prepared for a long haul, though :)  The example in 6.3.3 shows the sort of 
thing you might need.


Trevor

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

To: "Trevor Daniels" <[EMAIL PROTECTED]>
Cc: 
Sent: Thursday, July 10, 2008 6:41 PM
Subject: Re: Some Midi Output Problems




You can reduce the volume of the default piano in the same way, by
setting
midiMinimumVolume and midiMaximumVolume in the piano staff. Note,
though,
that these controls only take effect on encountering a dynamic mark,
so be
sure you have a mark at the beginning of the piano notes.


There is no piano staff, only a chordmode section (something like this):
--
Accordi = \chordmode
{
 \repeat unfold 60 {
   f2:9+ bes2:7
 }

 \repeat unfold 2 {
   f1
   f1
   ees1
   ees1
 }
}
--
Nor "\set Staff.midiXVolume" nor "\ppp" on chords (like f1\ppp) works.

Just to know this chordmode section is included in the staff this way:
--
\score {
 \new StaffGroup
 <<
   \new ChordNames {
 \set chordChanges = ##t
 \Accordi
   }
   \new Staff << \WithChords \global \Tromba >>
   \new Staff << \WithChords \global \Alto >>
   \new Staff << \WithChords \global \Tenore >>
   \new Staff << \WithChords \global \Baritono >>
 >>
 \layout { }
}
--



BTW, an easier way may be to simply use quieter dynamic marks on the
music
of the instruments you want to reduce - these also affect the MIDI
volume.


The "Control MIDI" dynamic marks are printed in the sheet (and, by the
way, i have to replace the real dynamics). I want to avoid this.



> To do this i use often "staccato" notes (a4-. a4-. a4-. a4-.).
>
> I expect my midi output sound like (a8 r8 a8 r8 a8 r8 a8 r8) but
sadly it
> does not interpret them at all and sound like a simple (a4 a4 a4
a4).
>
> I can simple write (a8 r8) version everywhere but the sheet become
really
> difficult to read for the performers.
>
> Is there a way to avoid to mantain a double version of the sheets?
(one
> for the performers with a4-. version and one for the midi output
with a8
> r8 one?)

Sorry, apart from using separate versions I don't know how to do this
other
than by writing a Scheme procedure to add the staccato marks in the
midi
\score block.


Can you point me to some docs about this Scheme procedures? Something
specific for lilypond i found a general intro on the guile site.



Trevor


Thank you Trevor for the answers!




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Re: Chord Names — seen but not h eard?

[Trevor Daniels]

Better late than never!

You can try removing
the Note_performer, like this:

 \midi {
   \context {
 \ChordNameVoice
 \remove Note_performer
   }
 }

Trevor

- Original Message - 
From: "99% Perspiration" <[EMAIL PROTECTED]>

To: 
Sent: Thursday, July 03, 2008 11:22 PM
Subject: Chord Names — seen but not heard?



Chord Names are preferable to free text because it is transposable.
However, I do not want the clunk of a Piano chord with every chord name 
symbol.


This sound occurs even if chord-name is visible as notes or not.

This is not where the actual chord is a composite of notes on various 
staves.


Is there a simple way a beginner can turn it off?





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Re: Creating Chorded Notes

[Trevor Daniels]

Eric

The key to discovering how to do this is \displayMusic.  Compile

\displayMusic { 2 }

in LilyPond and the Scheme equivalent is shown in the console log.

In this case it is:

(make-music
 'SequentialMusic
 'elements
 (list (make-music
 'EventChord
 'elements
 (list (make-music
 'NoteEvent
 'duration
 (ly:make-duration 1 0 1 1)
 'pitch
 (ly:make-pitch -1 5 0))
   (make-music
 'NoteEvent
 'duration
 (ly:make-duration 1 0 1 1)
 'pitch
     (ly:make-pitch -1 0 0))

Trevor


- Original Message - 
From: "Eric Knapp" <[EMAIL PROTECTED]>

To: "List lilypond-user" 
Sent: Saturday, July 12, 2008 3:36 PM
Subject: Creating Chorded Notes



Hi, all.

I'm trying to write a music function that creates chorded notes. I'm
starting simply and I'm stumped. How would I create this simple music
expression in a function?

 2

Is there a grob for these? What I'm working on is being able to
customize the individual NoteHead and Stem grobs for each note.

Thanks,

-Eric


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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Mark Knoop  wrote Monday, July 14, 2008 9:56 AM


On Mon, 2008-07-14 at 02:21 +, Carl Sorensen wrote:

Mats Bengtsson  ee.kth.se> writes:
OK, I'll bite.

I propose some new predefined functions:

\pointAndClickOn

pointAndClickOn = #(ly:set-option 'point-and-click #t)

and

\pointAndClickOff

pointAndClickOff = #(ly:set-option 'point-and-click #f)


These commands seem to imply that p&c can be turned on and off
throughout the input stream (i.e. that isolated sections within a work
would have p&c enabled). Is this the case, and is it desired? 


The commands also don't acknowledge that p&c is on by default -- one
would have to put \pointAndClickOff first, which is counterintuitive. I
doubt that many people work like this anyway; they either want to use
it, or don't.


Two good points.  So why do we need \pointAndClickOn?
It is on by default, and can't be turned on once it
is turned off, so not then.  If it is turned off in
the command line you'd hardly want to turn it on again
in the code, so not then either.

So, why not have just a single command?

\noPointAndClick

to override the default?  That would be my preference.


Personally, I always compile with p&c, except for final output, for
which the command-line method is the simplest method to temporarily
disable it.


This would be fine, but some users are not familiar 
with the command line.  Those that use the command

line can simply ignore the new command if they don't
want to use it.

Trevor



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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Valentin Villenave a écrit, Monday, July 14, 2008 7:25 PM,



2008/7/14 Trevor Daniels <[EMAIL PROTECTED]>:


Two good points.  So why do we need \pointAndClickOn?


John Mandereau (whom I've just met with) has just given me an example
of a case where one would need a \pointAndClickOn:

suppose you have a default stylesheet file, called e.g. "layout.ly",
that you use in all your scores, and which disables point-and-click;
suppose you temporary want to re-enable point-and-click in your
"master" file, but without modifying your layout file. Then:

%%%

\include "layout.ly"
\pointAndClickOn

%%%

... is your friend.


OK, that seems a valid reason.  So my vote now goes with
Carl's original proposal:

\pointAndClickOn
\pointAndClickOff


Cheers,
Valentin


Trevor



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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Graham Percival wrote Monday, July 14, 2008 6:40 PM


Non-command-line people should
be using jedit anyway, so they get the three-click toggle that Bert was
talking about.


No I shouldn't.  I have a text editing environment that has all the features 
I need for editing all my text files, and I have no intention of learning to 
use another just so I can turn off point and click.  It is silly to suggest 
it.


Trevor



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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Graham Percival wrote Monday, July 14, 2008 11:01 PM


I've never actually used jedit myself, but I'm quite impressed
with the screenshots and video showing off the advanced commands
(auto-completion, docs, etc).   I think that most people *would*
be better served by using lilypondtool.


Perhaps you should try it before recommending it.


Cheers,
- Graham


Trevor 




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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Bertalan Fodor wrote

This argument is like: "I have all the predefined commands I need for 
editing all my LilyPond files".


Not really.  Using a *single* editor with which
I am very familiar and which has macros, easily
editable highlighers for most languages automatically
selected by file extension, compilation invoked
by single function key (also easily editable),
console output automatically captured and displayed
in a separate window, find which produces a list of
search results, and for Lilypond, single function
keys defined to compile, show pdf and play midi, is
simply more efficient than having to switch to a
separate editor, however good.

The potential additional benefits don't (for me)
justify the inconvenience of using separate editors.
But they may for others, I accept.

Currently JEdit with LilyPondTool is the only editor for LilyPond that 
provides syntax checking and autocompletion of tweaks. I consider those 
such crucial features I can't image how other people can work without 
it. So it may worth learning to use another. That will be the last, I'm 
sure. Though I'm quite biased :-)


Does it have highlighters for texinfo, C++, html, css,
javascript, python, php, scheme too?  All of which I
use.

Trevor



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Re: nopc -- Proposed Predefines

[Trevor Daniels]

Bertalan Fodor wrote

Yes, it has a quite impressive list of highlighters, also syntax 
checking for php and html via plugins 
(http://jedit.org/index.php?page=features). I must note however, that 
jedit's highlighter configuration is regular-expression based, so it 
doesn't have such power that vim or emacs, where you can write code to 
highlight. (Actually you could write a plugin that colors according to 
more complex rules, as I do in LilyPondTool to make different background 
color for Scheme parts.)


Sounds good, but it looks like several hours
work to gain familiarity with it, which I can't
spare just at the moment.  Actually, the feature
I miss most is folding, which it has, especially
if it can fold texinfo subsections etc (?), so when
I get a spare afternoon I'll give it another whizz
(I tried it 15 months or so ago and failed to
make it work properly.)
 

Bert


Trevor



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Re: \tag can't follow \lyricsto

[Trevor Daniels]

Roman Stawski wrote


> The \tag command provokes a syntax error if it immediately follows a
> \lyricsto
> command. A work-around is to insert an empty expression {} between the
> two.
>
> \version "2.11.49"
> \paper{ ragged-right=##t }
> <<
>  \new Voice = "dirge" { c''1 }
>  \lyricsto "dirge" \new Lyrics { Whoops }
>  % {}% <-- \tag provokes syntax error if this line is commented out
>  \tag #'harmony { a'1 }
>>>

The \tag command appears not to define a new Staff/Voice
implicitly, whereas {} does, so the command fails without
the {}.  However, this seems a poor structure for an
input file, as it is quite unclear whether the tagged
line should generate a new staff, generate a new voice,
or be part of "dirge".  So, not really a bug, just a bad
input file.

Trevor



I'm not sure that I understand your explanation. However, perhaps I 
overpruned
my example. The following has explicit staves, yet it behaves exactly in 
the

same way. I _think_ that in this case the input file is unambiguous.
---
\version "2.11.49"
\paper{ ragged-right=##t }
<<
\new Staff { \new Voice = "dirge" { c''1 } }
\lyricsto "dirge" \new Lyrics { Whoops }
% {}% <-- \tag provokes syntax error if this line is commented out
\tag #'harmony \new Staff { a'1 }



---

Thanks for your answer. Let me know if I'm still off the track.


This discussion should really be on -user, so I'm copying
it there.

OK, I see what you are trying to do.  The error is that
the order of the commands in the lyrics line is wrong,
and the \new Lyrics command should be followed by { .. }
just like \new Staff is.  Then it works fine, like this:

<<
\new Staff { \new Voice = "dirge" { c''1 } }
\new Lyrics { \lyricsto "dirge" { Whoops } }
\tag #'harmony \new Staff {a'1}




However, there is an easier way to include or exclude
the harmony, without using tags, like this:

harmony = { \new Staff {a'1} }
<<
\new Staff { \new Voice = "dirge" { c''1 } }
\lyricsto "dirge" \new Lyrics { Whoops }
%\harmony %uncomment to include harmony




Tags are usually used for short sections of music.

You might find section 3.3.2 Different editions
from one source in the most recent version of the
2.11 docs worth a read - it was recently rewritten.


Roman

Trevor



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Re: \tag can't follow \lyricsto

[Trevor Daniels]

Nicolas Sceaux wrote


Le 15 juil. 08 à 21:02, Trevor Daniels a écrit :



Roman Stawski wrote

<<
\new Staff { \new Voice = "dirge" { c''1 } }
\lyricsto "dirge" \new Lyrics { Whoops }
\tag #'harmony \new Staff { a'1 }
>>


OK, I see what you are trying to do.  The error is that
the order of the commands in the lyrics line is wrong,



Where does this rule come from?



and the \new Lyrics command should be followed by { .. }
just like \new Staff is.



Why should \new SomeThing be followed by { .. } ?


You're quite right, I was too presumptuous in generalising
my workaround to a rule, but I wonder if some advice or
good practice could be formulated which would avoid the
tagged line in this example being interpreted in Lyric mode?

Trevor 




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GDP: NR 3

[Trevor Daniels]

NR 3 Input Syntax in GDP has been largely reorganised and several 
subsections redrafted.  Could you please review this for gross errors and 
omissions before we get down to detailed formatting and wording.


The sections which have been substantially modified are:

NR 3.1 Input Structure
NR 3.3 Working with input files
NR 3.5 MIDI output

NR 3.2 and NR 3.4 are virtually unchanged, but comments on these too are 
still welcome.


The section name "Input syntax" now seems a poor match to the contents. 
Perhaps "Other notation" might be better?  Views on this welcome.


As always, see the GDP docs at the GDP website:
http://web.uvic.ca/~gperciva/

Trevor




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Re: GDP: NR 3

[Trevor Daniels]

Thanks for the quick response!

Graham Percival wrote Thursday, July 17, 2008 9:37 AM

On Thu, 17 Jul 2008 09:17:31 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:


NR 3.5 MIDI output


I think 3.5.7 is unnecessary.  Just add ", in any MIDI player which
supports pitch bending" to the item in 3.5.2.


I included this because the only mention of microtones
in NR 1/NR 2 (AFAICS) is rather buried in Note names in other
languages, with no heading to @ref to.  Maybe now that
we have a section on World music it could be replaced by
a @ref to something there, but there's nothing suitable
yet.  Happy to do as you suggest as soon as there is a
suitable section on microtones elsewhere which I could
@ref to. 


I'm not certain if we need a separate subsubsection for instrument
names.  Why not merge that with 3.5.3?


Agreed it is too short to remain on its own, but
it doesn't really belong in a section about \midi.
Maybe merging it into 3.5.1 would be better?


I'm not certain about the order of .2 and .3.  IMO, there's three
parts of MIDI:
- basic setup (including tempo and instrument name)
- what's included in MIDI
- special cases (\unfoldRepeats, dynamics)



OK, I'll swap them over.  I agree it would be better.


- Graham


Trevor



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Re: GDP: NR 1.5 Simultaneous, second draft

[Trevor Daniels]

Graham Percival wrote Thursday, July 17, 2008 11:25 AM

On Thu, 17 Jul 2008 11:04:06 +0200 (CEST)
[EMAIL PROTECTED] (Karl Hammar) wrote:


Graham:
> > << { \voiceOne ... } \new Voice { \voiceTwo ... } >> \oneVoice
> 
> Is that really the "right" method?  I thought that \\ *was* the

> right method... in fact, isn't \\ exactly the same as what you
> propose?
...

No,


Huh, I had no idea.

Everybody: this is why your proofreading is so important.  Some
doc writers have only been using lilypond for five months.  I used
lilypond a few years ago, but there's huge swaths of material that I
don't know -- or even worse, material I *think* that I know, but I'm
actually incorrect.


Absolutely!  I keep finding my misconceptions have
occasionally crept into the docs.  We really do need
the real experts to review this new material.


Thanks, Mark and Karl.  Hopefully Francisco and Trevor will modify
LM 3 / NR 1.5 to clarify/correct this point.


Actually LM 3 always has said what Karl has just pointed out :) 


Cheers,
- Graham


Trevor



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Re: Still confused about context vs. new

[Trevor Daniels]

Patrick

My original intention was not to cover the use of \context in the LM, but I 
see now that several of the examples and templates use it, so that was 
perhaps a mistake.  Thanks for pointing this out.  I'll look at it again.


In the meantime, the distinction is explained in NR 5.1.2 Creating contexts, 
although this section has not yet been reviewed in GDP so maybe it could be 
improved.  Let me know to what extent it helps you.  In any case I'll bear 
your comments in mind when I get to that section.


Trevor

- Original Message - 
From: "Patrick Horgan" <[EMAIL PROTECTED]>

To: "Mailinglist lilypond-user" 
Sent: Thursday, July 17, 2008 9:35 PM
Subject: Still confused about context vs. new


I see many examples with \context, or \new used in the same place.  I've 
read LM 3.1.1 for example which tells me that if I don't create explicitly 
a \new Staff or \new Voice, they will be created automatically, and goes on 
to refer to that as the implicit creation of contexts.  I often see 
examples that refer to contexts, via something like \context ChoirStaff, or 
\context Staff, that have not been explicitly created. Can I assume that 
they are implicitly created?  Something like this recent example off the 
list:

\version "2.11"

\score {
  \context ChoirStaff <<
  \context Staff<<
  \context Voice = voice \relative c'' { \voiceOne\repeat unfold 
200 { e2 }
  \new Voice \relative c'' { \voiceTwo \repeat unfold 200 { 
c }}>>

  \context Lyrics \lyricsto "voice" { \repeat unfold 200 { la }  }
 \new Staff \relative c   <<
\new Voice { \clef "bass" \voiceOne  \repeat unfold 200 { 
}   }

\new Voice  { \voiceTwo  \repeat unfold 200 { a, } } >>  >>
\layout { }
}
Why does it use \context ChoirStaff instead of \new Choirstaff?  Same for 
Staff?  Same for Lyrics.  If I change the \context to \new it works 
identically (I think).  Does it?  If not what's the difference?  How do I 
know when to do which?  If I replace all the \new with \context, the music 
changes.  If I replace all the \context with \new it works fine.  Why?


Is there a difference between:

\score {
   \new ChoirStaff <<
  \new Staff{
 \new Voice<<>>
  }
 \new Staff{
 \new Voice<<>>
   >>
}

and
\score {
   \new ChoirStaff <<
  \new Staff{
 \new Voice<<>>
  }
  \new Staff{
 \context Voice<<>>
  }
 >>
}

Are these referring to implicit always pre-existing contexts, so that 
changing the \context to \new just takes up more memory for nothing and 
the implicit ones are still there?


In  LM  3.4.4 it implies without stating that changing a property of a 
Staff happens within the context of the current staff. i.e. setting 
instrumentName for a staff only affects that staff and goes on to say that 
if you don't specify Staff, then it will affect the default context, 
voice.  I had to try it to see if  \set Staff.instrumentName = #"Alto" 
would work--that was a nice clue, wish the text would have spelled that 
out.  It seems as if the writers know this well, it's part of their 
/context/  and they don't spell out things that now, to them are 
obvious.


Farther in LM 3.4.4. they begin using commands to change note heads 
without mentioning contexts at all.  Am I to assume, that they affect a 
default context?  Which is that?  The last thing I read was to be careful 
because the default was Voice.  So am I changing a Voice property here 
when I don't specify context?


I'm sure it's all clear if you already know it, but for me, it's quite 
fuzzy.


Patrick


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Re: GDP: NR 3

[Trevor Daniels]

Graham Percival wrote Friday, July 18, 2008 1:28 AM

On Thu, 17 Jul 2008 11:10:11 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:


Graham Percival wrote Thursday, July 17, 2008 9:37 AM
> I think 3.5.7 is unnecessary.  Just add ", in any MIDI player which
> supports pitch bending" to the item in 3.5.2.

I included this because the only mention of microtones
in NR 1/NR 2 (AFAICS) is rather buried in Note names in other
languages, with no heading to @ref to.


They're covered in Accidentals.  If the current material in there
isn't sufficient, we could add more...?
Anyway, @ref to Accidentals.


OK, found it.  I'll @ref to there and mention
quarter tones, which is the index entry I missed.

(As an aside, it's a pity we can't ref to index
entries.)


> I'm not certain if we need a separate subsubsection for instrument
> names.  Why not merge that with 3.5.3?

Agreed it is too short to remain on its own, but
it doesn't really belong in a section about \midi.
Maybe merging it into 3.5.1 would be better?


No objection here.


Done


Cheers,
- Graham


Trevor



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Re: GDP: NR 1.5 Simultaneous, second draft

[Trevor Daniels]

Francisco Vila wrote Thursday, July 17, 2008 10:35 PM

2008/7/17 Karl Hammar <[EMAIL PROTECTED]>:

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

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

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

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

music.

Ex1 is a dead end, nice for simple notes, everewhere else you have to do
Ex2.


Before summarizing, I have a question: Ex1 creates 2 new voices; Ex2
clearly creates 1 new voice, and they are \voiceOne and \voiceTwo.
What voice numbers are the two new voices in Ex1?


The answer to this is in LM 3.2.2 Explicitly instantiating voices


What voice numbers
are  a and b in <<{\a}{\b}>> ? (call it Ex0)


Depends what's in \a and \b, but the construct itself will
generate two staves implicitly, not voices.



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


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Re: GDP: NR 1.5 Simultaneous, second draft

[Trevor Daniels]

Francisco

I think all you need about drum staves in NR 1.5
is a @ref to NR 2.5.1.3 Percussion staves.  Otherwise
you will be duplicating material there.

On the wider issue of polyphonic constructs, there is
no need to replicate in detail any material already in
LM 3.2, but you should add briefly the explicit creation
of multiple voices to the techniques listed in Single-staff
polyphony. 


Trevor

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

To: 
Sent: Saturday, July 19, 2008 12:00 AM
Subject: Re: GDP: NR 1.5 Simultaneous, second draft



2008/7/18 Daniel Hulme <[EMAIL PROTECTED]>:

So, in your example


  \version "2.11.52"
  \new DrumStaff <<
\new DrumVoice = "1" { s1 *2 }
\new DrumVoice = "2" { s1 *2 }
\drummode {
  sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8 sn4:32~ |


(...)

I'm really afraid I'm not paying too much attention to this thread in
all that relates to Drums, I beg you, if anybody could summarize what
is more relevant to put into NR1.5 Simultaneous regarding to this,
I'll be very grateful.

Please understand that I am no way an expert in all kinds of
specialist notation, just I have learnt more about LP syntax these
months working on GDP than in two years of doc/web/binary
translations.

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


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Re: Spurious time signature

[Trevor Daniels]

This is a known limitation of grace notes.  See the Known issues and 
warnings section in 1.2.6.1 Grace notes in the 2.11 Notation Reference for a 
solution.


Trevor

- Original Message - 
From: "Thomas Ruedas" <[EMAIL PROTECTED]>

To: "Lilypond mailing list" 
Sent: Monday, July 21, 2008 4:06 AM
Subject: Spurious time signature



Hi,
I am giving the last touch to a piano score I have recently completed and
find that an acciaccatura causes a spurious time signature (Lilypond
v.2.10.25). A slightly boiled-down snippet producing the crucial two
measures from the code is given at the end.
The problem is that the acciaccatura on beat 1 of the second measure in 
the

left hand somehow causes a repeated appearance of the signature 4/4: The
first appearance is correct at the beginning of the measure before the
acciaccatura, but then there is a second 4/4 after it.
Is there something wrong with my input or is it a bug? What can I do about
it?
Thanks,
Thomas

\version "2.10.25"

i = \context Staff {
\context Voice = "i"
\voiceOne
\override Staff.TimeSignature #'style = #'()
\clef treble \key c \major

\relative { \time 6/4 #(set-octavation 1) 4 8. 

es,>16 4 8 16  4 8. 16

\time 4/4 4~^\markup { \italic "a tempo"} 8[~ 32 #(set-octavation 0) ces, bes a] g8[~ g32 fis' f e] dis8[~ dis32
#(set-octavation 1) ces' bes a] #(set-octavation 0)
}
}


ii = \context Staff {
\context Voice = "ii"
\voiceTwo
\override Staff.TimeSignature #'style = #'()
\clef bass \key c \major \time 4/4
\relative { \time 6/4 2  4 

\time 4/4 \acciaccatura es,8 } 4 \clef treble 4
\clef bass #(set-octavation -1) 4 #(set-octavation 0) \clef
treble 
}


\score {
 \context PianoStaff <<
   \context Staff=upper <<
 \i
   >>
   \context Staff=lower <<
 \ii
   >>
 >>
 \layout {
   \context {
\Score
}
   \context{
 \Staff
   }
 }
}
--
Protest against the arrest of Japanese anti-whaling campaigners:
http://www.email.greenpeace.org/snbyoobl_dzlyawqa.html
---
Thomas Ruedas
Department of Terrestrial Magnetism
Carnegie Institution of Washington
http://www.dtm.ciw.edu/ruedas/


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Re: Spurious time signature

[Trevor Daniels]

Sorry, I see you're still using 2.10.  The situation is exactly the same, 
but in the 2.10 documentation the warning and solution are in section 6.5.7 
Grace notes under Bugs.


Trevor

- Original Message - 
From: "Trevor Daniels" <[EMAIL PROTECTED]>
To: "Thomas Ruedas" <[EMAIL PROTECTED]>; "Lilypond mailing list" 


Sent: Monday, July 21, 2008 7:50 AM
Subject: Re: Spurious time signature




This is a known limitation of grace notes.  See the Known issues and 
warnings section in 1.2.6.1 Grace notes in the 2.11 Notation Reference for 
a solution.


Trevor

- Original Message - 
From: "Thomas Ruedas" <[EMAIL PROTECTED]>

To: "Lilypond mailing list" 
Sent: Monday, July 21, 2008 4:06 AM
Subject: Spurious time signature



Hi,
I am giving the last touch to a piano score I have recently completed and
find that an acciaccatura causes a spurious time signature (Lilypond
v.2.10.25). A slightly boiled-down snippet producing the crucial two
measures from the code is given at the end.
The problem is that the acciaccatura on beat 1 of the second measure in 
the

left hand somehow causes a repeated appearance of the signature 4/4: The
first appearance is correct at the beginning of the measure before the
acciaccatura, but then there is a second 4/4 after it.
Is there something wrong with my input or is it a bug? What can I do 
about

it?
Thanks,
Thomas

\version "2.10.25"

i = \context Staff {
\context Voice = "i"
\voiceOne
\override Staff.TimeSignature #'style = #'()
\clef treble \key c \major

\relative { \time 6/4 #(set-octavation 1) 4 8. 

es,>16 4 8 16  4 8. 16

\time 4/4 4~^\markup { \italic "a tempo"} 8[~ es

as,>32 #(set-octavation 0) ces, bes a] g8[~ g32 fis' f e] dis8[~ dis32
#(set-octavation 1) ces' bes a] #(set-octavation 0)
}
}


ii = \context Staff {
\context Voice = "ii"
\voiceTwo
\override Staff.TimeSignature #'style = #'()
\clef bass \key c \major \time 4/4
\relative { \time 6/4 2  4 

\time 4/4 \acciaccatura es,8 } 4 \clef treble 4
\clef bass #(set-octavation -1) 4 #(set-octavation 0) \clef
treble 
}


\score {
 \context PianoStaff <<
   \context Staff=upper <<
 \i
   >>
   \context Staff=lower <<
 \ii
   >>
 >>
 \layout {
   \context {
\Score
}
   \context{
 \Staff
   }
 }
}
--
Protest against the arrest of Japanese anti-whaling campaigners:
http://www.email.greenpeace.org/snbyoobl_dzlyawqa.html
---
Thomas Ruedas
Department of Terrestrial Magnetism
Carnegie Institution of Washington
http://www.dtm.ciw.edu/ruedas/


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Re: strange error -beam and tremolo

[Trevor Daniels]

Seems to work ok in the latest development version, 2.11.52, so
I guess you're using an earlier version.  The development
version is now at least as stable as 2.10, so it might be worth
upgrading, although you will need to run convert-ly on your files.

Trevor

- Original Message - 
From: "Mehmet Okonsar" <[EMAIL PROTECTED]>

To: "Lilypond Users Group" 
Sent: Tuesday, July 22, 2008 10:44 AM
Subject: strange error -beam and tremolo



the following gives a trange error:

{r8[ c'8:32]}

Preprocessing graphical objects...ERROR: Wrong type (expecting real 
number):

#

I want to have a beam starting on a rest and a tremolo on the note..

Esenlikler! Best regards!
Mehmet Okonsar
pianist, composer, conductor
==
www.okonsar.com
==
Bugunku ozdeyisiniz:
Your fortune for today is:
==
Surprise due today.  Also the rent.


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Re: combine music, merge noteheads

[Trevor Daniels]

Try \partcombine {\stemUp \sopone} \soptwo

This should do what you want, at least for this simple example.

Trevor

- Original Message - 
From: "Germain G. Ivanoff-Trinadtzaty" <[EMAIL PROTECTED]>

To: "Lilypond users" 
Sent: Tuesday, July 22, 2008 4:34 PM
Subject: combine music, merge noteheads


Dear all,
(PNG illustration attached)
Given two music variables, "sopone" and "soptwo", would you show me how to 
get an output like "desired 1" or "desired 2" ?
I want to combine the to music expressions, having same noteheads merged, 
and use the resulted combination as a \voiceOne (all stems up, so I can put 
another "alto" part as \voiceTwo).

Regards,
Germain

%% "test-merge-noteheads.ly"

\version "2.11.49"

#(set-global-staff-size 15)

sopone = { c''1 c''2 g'8 a' b' c'' e'' f'' g'' e'' }
soptwo = { c''1 c''2 g'8 f' g' c'' e'' d'' c'' e'' }
\markuplines {
"Dear all,"
"Given \"sopone\" and \"soptwo\" (variables),"
"how to get \"desired 1\" or \"desired 2\" ?"
}
\score
{
\new GrandStaff
<<
\new ChoirStaff
<<
 \new Staff
 <<
  \set Staff.instrumentName = "sopone"
  \new Voice << \sopone >>
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "soptwo"
  \new Voice << \soptwo >>
 >>
>>
\new ChoirStaff
<<
 \new Staff
 <<
  \set Staff.instrumentName = "desired 1"
  \new Voice { \voiceOne  1 c''2 g'8   c'' e'' d''>  e'' }

 >>
>>
\new ChoirStaff
<<
 \new Staff
 <<
  \set Staff.instrumentName = "desired 2"
  \new Voice { \voiceOne  c''1 c''2 g'8   c'' e''  
 e'' }

 >>
>>
\new ChoirStaff
<<
 \new Staff
 <<
  \set Staff.instrumentName = "got 1"
  \new Voice << \sopone \soptwo >>
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "got 1 bis"
  \new Voice << \voiceOne \sopone \soptwo >>
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "got 2"
  \set Staff.printPartCombineTexts = ##f
  \new Voice << \partcombine \sopone \soptwo >>
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "got 2 bis"
  \set Staff.printPartCombineTexts = ##f
  \new Voice << \voiceOne { \partcombine \sopone \soptwo} >>
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "got 3"
  \new Voice { \voiceOne \sopone }
  \new Voice { \voiceTwo \soptwo }
 >>
 \new Staff
 <<
  \set Staff.instrumentName = "got 4"
  \new Voice { \voiceOne \sopone }
  \new Voice { \voiceThree \shiftOff \soptwo }
 >>
>>



\layout {}
}







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Re: Tie control-points delete another tie

[Trevor Daniels]

It seems that the tie override is sensitive to the
order in which the two parallel sections appear.
If the order is reversed so the override is in
the first section, and explicit voices are used,
it works as expected with ties.  But you were
right originally, this is either a bug or LilyPond
is overly sensitive.  FWIW, here's a version with
ties that does what you want:

\new Staff <<
  \key f \major \time 6/8
  \new Voice <<
\stemUp
\relative c' {
  fis4. fis4 a8
  \once\override Tie  #'control-points =
  #'((1.75 . -0.5) (2.5 . 0.75) (8 . 2) (13.5 . -1.2))
  fis4. ~ fis4 a8
}
\relative c'' {
  d4. ~ d4 e8
  d4. ~ d4 e8
}
  >>
  \new Voice {
\stemDown
\relative c'' {
  a8 a16 a a8 a a a
  a8 a16 a a8 a a a
}
  }




Trevor
- Original Message - 
From: "Marco Caliari" <[EMAIL PROTECTED]>

To: "Risto Vääräniemi" [EMAIL PROTECTED]
Cc: "Trevor Daniels" <[EMAIL PROTECTED]>; "Marco Caliari" 
<[EMAIL PROTECTED]>; 

Sent: Thursday, July 24, 2008 9:03 AM
Subject: Re: Tie control-points delete another tie



Hi,

My mail probably belongs better to the user list so I post it there...

Trevor Daniels wrote:

It's not clear what you are trying to achieve here,
as the ties without the override look ok.


I don't know about Marco's intentions but I once had a similar case. I
got around by using both slurs and ties.


I did exactly the same. First, please consider that in this snippet 
(without the third voice)


\version "2.11.52"
\paper{ ragged-right=##t }
\new Staff {
<<
% first voice
  {d''2 ~ d''
   d''2 ~ d''}
% second voice in parallel
  {f'2 ~ f'
   \once\override Tie  #'control-points =
   #'((1.5 . -0.5) (2 . 1) (7 . 2) (8 . -1))
   f'2  ~ f'}



}

only the tie in the lower voice is modified, as wanted. What I want to 
engrave is the following:


\version "2.11.52"
\new Staff {
  \key f \major \time 6/8
  <<
{\relative c'' {
  d4. ~ d4 e8
  d4.( d4) e8}}
{\relative c' {
  fis4. fis4 a8
  \once\override Tie  #'control-points =
  #'((1.75 . -0.5) (2.5 . 0.75) (8 . 2) (13.5 . -1.2))
  fis4. ~ fis4 a8}}\\
{\relative c'' {
  a8 a16 a a8 a a a
  a8 a16 a a8 a a a
}}
  >>
}

In the first bar (the original one) there is a tie-collision, which I can 
solve only changing the tie in the upper voice into a slur (second bar).


Best regards,

Marco





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