to
> each chunk, but that is a palaver and I am looking for something
> easier.
You can add the lyrics to the Staff instead of each voice. You just
have to add _ to each set of lyrics so that there's a syllable for
every moment in the staff, ie both voices.
BTW, post
people in
the past having problems with running timidity themselves,
and the fix was killing their timidity daemon. I've never
encountered that problem, never having seen such a daemon.
I don't remember reports of what might have started it.
Cheers,
David.
searching with the keywords "soundfont file
> linux installing".
I would search your distribuition's archive first; for example,
Debian provides fluid-soundfont-gm, fluid-soundfont-gs and
fluidr3mono-gm-soundfont in the archive. For those, you can
therefore use your normal installer.
Cheers,
David.
OW, you need one fewer skips inside your \Devnull. My workaround
is attached. I can't tell whether this feature is a bug, nor whether
it could be bent to your requirement.
Cheers,
David.
\version "2.24.4"
melody = \relative c'' {
c1 d1 e2~ 2 \break f g a b
}
wordsRef
éric BELLOCQ writes:
> David,
> Ok, thanks.
>
> Then, in 5.4.7 of English (and at least French) manual for 24.4, it is said
> that
> \hide
>
> is a short cut for
> \override Clef.transparent = ##t
>
> Are they boch the same than
> \override Clef.stenci
its better to have a "softer" approch. In the
> case you could use :
>
> `\override Clef.stencil = #point-stencil`
That's the same as \hide Clef
--
David Kastrup
e LyricText.self-alignment-X = #RIGHT
>
> \repeat unfold 4 { R8 L }
> }
That's good (though not what you asked for).
> For Lyrics with more than 1 character using:
>
> Lyrics = \lyricmode {
> \override Lyrics.LyricText.font-series = #'bold
> \overrid
. Knowing the contents might help you to
find its origin, or it could even be a step on the path
to making it work.
Cheers,
David.
%%\header {
%% snippet-title = "Aligning lyrics on vowels"
%% snippet-author = ""
%% snippet-description = \markup {
%%Align lyrics so t
weak that will provide that?
"Left" places the /left/ side of the lyric underneath the note.
So using right instead may do what you want.
If even that is not far enough, you could modify your lyrics
to R_ L_, which will shove them yet further over.
Cheers,
David.
at is suggested.
Knute and Valentin also made helpful suggestions, but I'll go with this
one because it is so nearly what I already had.
Thanks all for your help.
David
On Sat, 2025-01-25 at 15:35 -0800, carsonm...@ca.rr.com wrote:
> David,
>
> \version "2.24.4&
I want, except that the turn and its
accidental should appear inside the slur, not outside. I have tried
all sorts of tweaks and overrides for the turn and the accidental, but
without any success.
How can I get the result I want?
David
test.pdf
Description: Adobe PDF document
big rehearsal letters. And the
A isn't giving any indication of the a-line. (I suppose you /could/
raise the crossbar and project it a little beyond the righthand side.)
Personally, I'm not sure I could cope with more clefs. I don't envy
tenors having to cope with G, F and occasionally C clefs already.
Cheers,
David.
contained?
What makes me suspicious is that here on linux I happen to have:
~/lilypond-2.18.2-1.linux-64/lilypond/usr/bin/
which is part of the old-fashioned (≤2.23.6) LP tree (but _not_ in
the PATH). Hopefully yours is not loitering around in your PATH
or the new unpacked archive.
Cheers,
David.
probably isn't worth the hassle.
You might need to wait for a windows user here to check over
your installation(s), something I can't do. Perhaps check your
versions haven't become entangled.
Cheers,
David.
" seems to work.
It's often worth checking both documents/web trees,
as they don't cover exactly the same ground.
Cheers,
David.
On Sun 19 Jan 2025 at 10:58:25 (-0800), carsonm...@ca.rr.com wrote:
> Looked in the index of 2.24 and did not see it.
>
> Where should I be looking?
Notation Reference 2.24.0 p884 (command index) and p910 (LilyPond index).
Cheers,
David.
a directories.
In particular for windows, you should probably avoid having
them in your current working directory.
I would leave the binaries in wherever they were installed. You can
certainly change directory to wherever you place your data files.
Cheers,
David.
e.
(Excuse my terminology.)
So you need to add _ to the lyrics to satisfy that rule:
\addlyrics { A -- _ B C }
I find the structure useful for setting hymns that have a lot
of passing notes, avoiding having to write an alignment part
with a NullVoice.
Cheers,
David.
Valentin Petzel writes:
> Hello David,
>
>> Neither surprising nor an edge case.
>
> I would say it is quite surprising for most users, and definitely an edge
> case.
> It is essentially a case of `\applyContext` silently behaving differently
> when
> the Voi
(length (ly:assoc-get 'length grob-def)))
> (display "+ ")
> (display length)
> (newline)))
>
> \score {
> \relative c'' {
> \applyContext #displayStemLength
> g4
> \applyContext #displayStemLength
> g
> }
> \layout {
> \override Stem.length = #0
> }
> }
> % MWE end --
>
> Best regards,
> Jakub
--
David Kastrup
rd of these (but from
http://lilypond.org/doc/v2.24/Documentation/web/download),
so you want to download the first one in the list above, ie:
https://gitlab.com/lilypond/lilypond/-/releases/v2.24.4/downloads/lilypond-2.24.4.tar.gz
Cheers,
David.
oment' is deprecated;
> use 'tempoWholesPerMinute'
>
> Is that a regression?
That is probably a less than helpful change. Maybe this should instead
be converted to
\set Score.tempoWholesPerMinute = #210/4
since it is more or less the most basic form of accessing this property.
--
David Kastrup
riod, and I protested that non-backward-compatible behavior.
--
David Kastrup
al stencil-routines
> like stencil-whiteout and friends - or am I wrong?
stencil calls should get all the arguments they need. If necessary for
backward compatibility, as optional and/or keyword arguments.
--
David Kastrup
ed in general stencil routines,
Why? Markup commands all get the layout argument (which is either a
layout block or for global markup the paper block), and layouts inherit
from paper.
--
David Kastrup
user/refman.itely (Fingering instructions): adjust manual.
Can't be all that many years...
--
David Kastrup
When you are writing notes to be used by instruments in different
transposition, it is a bad idea to put a \transposition in the notes.
That pins down the relation between written and sounding notes, and you
don't want that.
You can create MIDI to hear what LilyPond's idea of sounding notes is:
the cue notes are engraved by looking at both the transposition of the
current staff as well as that of the quoted staff. For this to work
sensibly, the \transposition has to appear in the staff of the
instrument actually playing at a different concert pitch, not anywhere
else.
--
David Kastrup
just add an ordinary
percussion part that sounds but is prevented from being printed?
--
Thanks
David Rogers
lute and relative notation. It's
probably easiest to use that for the editing.
--
David Kastrup
en before was in Rutter's
Shepherd's Pipe Carol. Carols for Choirs 2 (the orange book) has
commas, but by 100 Carols for Choirs (the white book), they've become
stylised tick marks. (Same editors and publisher.)
Cheers,
David.
<<
> \new Voice = "melody" \relative {
> a'1 a4. a8 \breathe a2
> }
> \new Lyrics \lyricsto "melody" {
> These are the \breathe words
> }
> >>
Attached is some doodling based on the above as there was no MWE.
You might want to decreas
ecent 2.25 releases have the scheme function to-staff-space,
> Otherwise you can get the conversion factor from the paper.
Arguably within markup, the layout block should be the active module.
That would make this just
\override #`(line-width . ,(* 100 mm))
But at the current point of time, this is not the case, and the above
does not work.
--
David Kastrup
o resource),
zathura by pressing Ctrl-R when displaying the document,
evince ditto with Ctrl-I,
mupdf ditto with I.
This avoids having to keep multiple documents, and is safer in that
you're less likely to send an inverted document to a printer and
thereby waste a lot of ink or toner.
Cheers,
David.
te all the fooii variables of interest from
fileii into filei, adjust the \score{ } sections to include the two
voices instead of one, and add Merge_rests_engravers as appropriate.
This method will give melodic lines that are suitable for having
lyrics set beneath them, rather than a blizzard of simultaneity
structures, which can confuse the eye.
Cheers,
David.
fy the fraction to use. \afterGrace not
just precedes the time when optional arguments were possible but also
the time when fractions were general input syntax.
--
David Kastrup
ouldn't this be a context property? [...]
>
> I guess that David has thought about that...
>
>> (Of course, the current implementation of afterGrace makes this
>> comparatively hard to achieve, since the fraction is used for
>> determining the length of a skip IIRC.)
&g
Thanks for making this public, it's an excellent resource. The cluster
chords are very well done.
On Sun, Dec 15, 2024 at 8:20 AM Knute Snortum wrote:
>
> On Sun, Dec 15, 2024 at 7:24 AM Yoshiaki Onishi wrote:
>>
>> Dear LilyPonders,
>>
>> Ever since I started learning LilyPond a little over thr
don't think labelling the
chord name line is all that unusual.
--
David Kastrup
sing
\oneVoice instead.
But you should not need to change _back_ at all. As mentioned in
another post, you are likely misusing \\ for something it is not good
for.
--
David Kastrup
. } \new Voice { the ghost voice } >>
And in particular _not_ using \\ .
> My question: is it possible to add another STAFF to the score, to use
> only to control horizontal spacing? If so, how can it be hidden so it
> won't affect vertical space, show clefs & key signatures, etc?
That way lies madness.
--
David Kastrup
intersection of the people complaining
about the documentation and the people writing documentation is empty.
The path to improving LilyPond does not lie with telling the few
remaining volunteers that they are doing a bad job.
--
David Kastrup
Kieren MacMillan writes:
> Hi David,
>
>>> I, for one, would love to see a list of all properties that are
>>> implied to have an effect on a grob [by interface inclusion] but don’t
>>> actually [due to lack of implementation].
>>
>> The proposal wo
msk...@ansuz.sooke.bc.ca writes:
> On Fri, 13 Dec 2024, David Kastrup wrote:
>
>> > But one might well also ask, if there are useless properties with no
>> > effect,
>>
>> Straw man. There are no such properties.
>
> Then why are you so concerned about w
Trevor Bača writes:
> On Fri, Dec 13, 2024 at 3:46 PM David Kastrup wrote:
>>
>> Why would you want to list a property that has no effect on a grob?
>>
>
> David, please go look at the IR 3.1 entry for TupletBracket ...
>
> https://lilypond.org/doc/v2.24/Docu
msk...@ansuz.sooke.bc.ca writes:
> On Fri, 13 Dec 2024, David Kastrup wrote:
>> >> I don't see how it is a great idea to list properties that may not
>> >> affect a grob at all in the documentation of a grob.
>> >
>> > Excuse me?
>> >
&
Kieren MacMillan writes:
> Hi David,
>
>>> Can you please elaborate just a little bit more on what you're
>>> thinking?
>>
>> Why would you want to list a property that has no effect on a grob?
>
> I, for one, would love to see a list of all prope
Trevor Bača writes:
> On Fri, Dec 13, 2024 at 1:11 PM David Kastrup wrote:
>
>> Trevor Bača writes:
>>
>> > Most helpful of all was the suggestion that the grob descriptions given
>> as
>> > IR 3.1 ...
>> >
>> >
>> https:/
Carl Sorensen writes:
> I was under the impression that if a grob had a particular interface,
> all of the properties of the interface could be applied to the grob.
But that doesn't mean that they will have an effect.
--
David Kastrup
roperties that a grob *changes* from interface defaults.
>
> This is such a great idea.
I don't see how it is a great idea to list properties that may not
affect a grob at all in the documentation of a grob.
--
David Kastrup
ault value is
what is being used unless overriden by grob definition or context
definition or user. Many grob definitions override the default, and
several context definitions also apply overrides. Only then does the
user come into play.
> The default values seem to be set in grobs, not interfaces, so as an
> alternative, how about something like ...
Again: you are confusing what "default" means in this context. The
grobs can override the defaults.
--
David Kastrup
ine-music-function
(align mkp) ((number? LEFT) markup?)
#{
<>^\markup
\general-align #X #align
\bold
\override #'(box-padding . 0.5)
\box #mkp
#})
Of course the original example would not work until changing it to
\InstrumentChange #-0.7 "Bb Clarinet"
--
David Kastrup
ot something that a "feature request" can do. The best you
can hope for is telling LilyPond where it can break the page including
key signatures and so on and forbid it to break page anywhere else.
It can even be a range of measures that you are sure will take more than
1 line and less than 2.
--
David Kastrup
ith {
alignAboveContext = "VnI"
\remove Time_signature_engraver
\magnifyStaff #3/4
} {
<>^"Solo - should be above the other staff" \repeat unfold 7 { c2 d }
}
>>
\break
\repeat unfold 7 { f,4 d f d }
}
\score {
\new StaffGroup \with {
instrumentName = #"Violin I "
} \new Staff = "VnI"
{ << \global \violinIPart >> }
\layout { }
}
--
David Kastrup
g type (expecting exact integer): bar
> So perhaps you can figure out how to define a slot-ref procedure that
> works normally and a slot-set procedure which does nothing.
Fwiw, I wouldn't do that.
With all the above said, i totally agree with David Kastrup's answers
that in th
nd
specifying the X shift I want.
Any suggestions?
David Sumbler
cpts)
> (cons x y)))
> ```
Here you calculate succesive values of (binom n k) in a loop, each time
going from scratch rather than using the last value.
Wrapping that kind of complexity problem in OOP boxes will make it
harder to fix it.
--
David Kastrup
ld have done the trick stopping at the fifth
and adding the sharpened 11, but then c:5 was changed to stop including
the third since c:5 for "power chords" looked like a more sensible input
syntax than c:^3 or c:1.5 .
--
David Kastrup
ng Lily Pond to newer versions on the
> Mac invariably involves breaking things, so I haven't gotten around to
> doing it.
That sounds like something you should get fixed as it will cause an
increasing amount of problems communicating with other people about
things you try doing.
--
David Kastrup
On Sun, 2024-11-24 at 16:57 +0100, David Kastrup wrote:
> David Sumbler writes:
>
> > What I don't understand is why I need both the 8th-note and 16th-
> > note
> > entries. The name "beamExceptions" implies that one only needs to
> > specif
David Sumbler writes:
> What I don't understand is why I need both the 8th-note and 16th-note
> entries. The name "beamExceptions" implies that one only needs to
> specify the exceptional beaming - but the 16th note version is already
> the default. Is it the ca
On Sun, 2024-11-24 at 15:25 +0100, David Kastrup wrote:
> David Sumbler writes:
>
> > I am setting a piece in 2/4 time. Lilypond's default beaming
> > pattern
> > is to break beams at the mid-bar point, which is what one would
> > generally expect. However, I
David Sumbler writes:
> I am setting a piece in 2/4 time. Lilypond's default beaming pattern
> is to break beams at the mid-bar point, which is what one would
> generally expect. However, I would like it to use a single beam for
> the whole bar if, and only if, the bar cons
ing.beatStructure = 1,1
\set Timing.beamExceptions = #'()
\set Timing.beamExceptions = \beamExceptions { 8[ 8 8 8] }
c''8 c16 c c c c8
c8 c c c
}
David
On Thu 21 Nov 2024 at 18:09:35 (-0800), Kenneth Wolcott wrote:
> Thanks, David.
>
> I think I finally found the answer in the manual (see attached screenshot).
>
> \set Timing.beamHalfMeasure = ##f
That's certainly more compact, but I've not used it because I'm mo
On Thu 21 Nov 2024 at 17:26:26 (-0800), Kenneth Wolcott wrote:
> Hi David;
>
> You have:
>
> #'() % beamExceptions
> \overrideTimeSignatureSettings
> 3/4 % timeSignatureFraction
> 1/8 % baseMomentFraction
> *2,2,2 % beatStructure*
>
>
t engraved so that the first eighth note is not part of the
> bracket.
I'm sure there are better ways than the attached.
Cheers,
David.
\version "2.24.0" % 2017-11-28
%% Beam crochets separately.
%% 2.18.2 can't parse this format for beatStructure
\layout {
\context {
On Tue 19 Nov 2024 at 09:05:00 (-0800), Stu McKenzie wrote:
>
> Reply to David Wright (et al):
>
> On 2024-11-18 10:40, Stu McKenzie wrote:
[ recapitulation of OP snipped ]
>
> In reply to your post:
>
> > It's typical that an error occurs before the "outd
eys)))
(else fallback
The labeled let defines a function taking two arguments (and in this
case with the name "loop") and runs it with the initial arguments taken
from the let statement.
--
David Kastrup
)
(nhds (ly:grob-object right-bound 'note-heads)))
(not (ly:grob-array? nhds)))))
to deal with hairpins broken across lines?
--
David Kastrup
the error message by
> experimenting with scores.
>
> Unfortunately, there is 1 error before the compilation failed message,
> but it shows that no specific file is mentioned in the message.
It's typical that an error occurs before the "outdated" message
is issued. But your OP reads as if the message appeared out of
the blue, without any previous error having occurred. Is that
correct, and if not, what was the error that you didn't report?
Cheers,
David.
)
> SCORE:global-config
> )
> }
>
> \layout {
> \context { \Score \useScore }
> }
>
> \score {
> \new Staff {
> \relative c' {
> c d e f g f e d c
> }
> }
> }
>
You really should get used to standard ways of formatting Scheme code or
every interaction with other people is going to cause headaches for one
or the other.
That being said, this particular error just appears to be the typo of
writing "Notehead" instead of "NoteHead". Fix that, and the score
compiles. Whether it does what you expect then, I have no idea.
--
David Kastrup
d really
> like to see a scan of the printed score you want to replicate – up to
> now I've never experienced a piece that starts with grace notes only
> right before a bar line...
>
>
> Werner
Joachim Andersen no.22 of 24 Etudes for Flute. You'll find it on
IMSLP.
David
On Sun, 2024-11-17 at 17:54 +0100, Thomas Morley wrote:
> Am So., 17. Nov. 2024 um 17:18 Uhr schrieb David Sumbler
> :
> >
> > I have been setting a piece which has a large number of notes
> > preceded by 3 grace notes. Unusually, the original version prints
> &g
ot;ly:expect-warning-times" to suppress unnecessary
warnings, but I can't find anything similar to suppress a message about
a programming error.
Alternatively, of course, perhaps someone can suggest a better way of
producing the grace notes and barline before the first main note.
David
ist.
If that list is a top-level markup list, it is treated as lines subject
to page-breaking, with their own spacing variables separate from that of
a top-level score.
--
David Kastrup
t;
What second voice? There is only a single voice here.
You probably mean something like
\new Voice <<
\relative {g' a b e} \\
\relative {c' d \glissando e f}
>>
Note that without the "\\", "<< ... >>" does not introduce additional
voices but merely enters material in a different order.
--
David Kastrup
But others will have to tell you whether this is possible,
and how to code it if it is.
Cheers,
David.
st is passed to Staff
(1st score), or NullVoice (2nd score).
Then, before you create your second score, you can set:
polly = { }
to make it "disappear". (I don't know the jargon.)
Does that make sense?
Cheers,
David.
ll cause
this shift, as seen in the last two examples. Because I don't use
durations, I prefer "" rather than \skip, because \skip must be
followed by a duration, but that duration is meaningless and
could be misleading.
Cheers,
David.
eighthNotes = {
c'8 8 8 8 \brea
ructure
(which is what you get without specifying the context level explicitly)
don't make it into or out of << ... \\ ... >> constructs.
--
David Kastrup
On Sat, 2024-11-02 at 19:22 +0100, David Kastrup wrote:
> David Sumbler writes:
>
> > I have a piece which is in D-flat major, with a middle section
> > which is
> > in C-sharp minor. Both of these keys are more easily written a
> > semitone lower so I have trie
David Sumbler writes:
> I have a piece which is in D-flat major, with a middle section which is
> in C-sharp minor. Both of these keys are more easily written a
> semitone lower so I have tried to use \transposition, but I can't get
> this to work.
>
> For instance,
\key c \minor
c
}
}
}
What am I doing wrong?
David
produces into wherever
you want to keep it and run it from.
Presumably you're familiar with running LP.
Cheers,
David.
ve the spacings that your posts
were asking for.
Cheers,
David.
Cameron Hall writes:
> On Wed, 30 Oct 2024 15:14:59 +0100
> David Kastrup wrote:
>
>> Cameron Hall writes:
>>
>> > Here is a short simplified excerpt of a piece I'm trying to notate.
>> > I need a slur to start on the quarter note C and end on the D
|
c2. |
}
%%%
Note that if your ongoing Voice is named Voice = "soprano" (for
example), the \voices command needs to become \voices "soprano",2 in
order to attach the first-voice-formatting to the already existing
voice.
--
David Kastrup
; \Staff
> \omit TimeSignature
> \omit BarLine
> \omit Clef
> \override VerticalAxisGroup
> .default-staff-staff-spacing
> .basic-distance = #10
> }
> }
> }
>
> I'm sure this is an easy question, but I haven't found the right search term
> for it -- TIA!
You could add
\context {
\Score
\remove System_start_delimiter_engraver
}
to your \layout block.
--
David Kastrup
roperty m 'elements))
(t (list-tail l (if (negative? a) (+ (length l) a) a
(list-head t (if (negative? b) (+ (length t) b 1) b))
m)
scale = \relative { a b c d e f g}
\displayLilyMusic \pick 0 4 \scale
\displayLilyMusic \pick -2 -1 \scale
\displayLilyMusic \pick -3 -3 \scale
--
David Kastrup
David Kastrup writes:
> stefano franchi writes:
>
>> Is there a lilypond function that would allow me to extract a subset from a
>> pattern?
>>
>> For instance, let's say I have a simple A - natural scale and I want to get
>> the first five notes. Is th
ean "remove no element").
The music in question needs to actually be of a kind that has an
'elements field.
--
David Kastrup
"H. S. Teoh" via LilyPond user discussion
writes:
> On Tue, Oct 22, 2024 at 10:57:23AM -0700, Knute Snortum wrote:
>>On Tue, Oct 22, 2024 at 10:44 AM H. S. Teoh via LilyPond user discussion
>><[1]lilypond-user@gnu.org> wrote:
>>
>>> O
race notes right at
> the beginning,
Issue 34. Workaround is in the manual.
--
David Kastrup
that my first draft of Nothing Other Than's description is
unsatisfying to people who actually write code. Suggestions welcome.
Pond-fraternally yours,
David Olson
Los Angeles
Thank you both for your helpful replies. I now have things working
just as I had hoped.
David
On Fri, 2024-10-18 at 07:03 -0400, Kieren MacMillan wrote:
> Hi David,
>
> As Xavier points out:
> > It's not odd-header-markup but oddHeaderMarkup (same for even).
>
> I
s that it combines
multiple contexts overlayed on one another. You'd put the instrument
name on the context best matching the visuals you'd want.
--
David Kastrup
On Fri, 2024-10-18 at 12:56 +0200, Xavier Scheuer wrote:
> On Fri, 18 Oct 2024 at 12:48, David Sumbler
> wrote:
> >
> > One of these 2 solutions would almost certainly work for me, if
> only I could get the basics sorted out. But after a lot of
> experimentation, I canno
On Thu, 2024-10-17 at 13:32 -0400, Kieren MacMillan wrote:
> Hi David,
>
> > > So, for example, I would like the following:
> > > Page 1, containing items 1 and 2: header shows '1&2'
> > > Pages 2-3, each containing a single item: headers show '
eat
through the whole book. If I specify oddHeaderMarkup etc. in the files
for individual items, which are called by my top-level file, I find
that the last one is applied to the whole document.
Is there some way of doing what I want which would still allow me to
end up with a single output file?
re elegant and orthodox way
of doing what I want. Suggestions, please?
David
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