David Kastrup | 29 Jul 13:17 2014

Re: predefined mandolin tuning wrong?

Please don't reply off-list.  That makes it impossible for others to
chip in.  I am not going to dissect the code dump you included in your
reply.  I don't think it makes sense for others to even try, so I am not
including it in this reply copied to the list.

BB <BB-543437 <at> versanet.de> writes:

> I found a very lengthy lilypond code (about 200 lines) in the internet

You'll find that "the internet" contains a lot of partly dubious advice
for a lot of versions.

> and tried to convert it from guitar to mandolin. For testing I
> shortened the original to
> \version "2.12.3"

And 2.12.3 is positively ancient.  Not many people will be able to give
you advice for that version, and if you are indeed _using_ version 2.12,
you should really upgrade.

Please consult the manual coming with your version of LilyPond.  It will
most likely also be found "on the internet", but make sure to consult
the version corresponding to the version you have installed.

If you take some random code floating on the internet not corresponding
to your version of LilyPond and randomly outcomment lines until arriving
at "valid" input, the chances of having working code are rather small.
(Continue reading)

Javier Ruiz-Alma | 29 Jul 07:09 2014

Column line spacing changed with 2.18

Need troubleshooting help with a two-line markup block.


The block is used for the copyright statement in scores published by Mutopia and has to remain dimensionally stable over a wide range of possible staff-sizes.

To accomplish this, \abs-fontsize characters and \override #'(baseline-skip . 0 ) was used in an attempt to minimize any horizontal and vertical scaling with the various staff-size submitted for publication.


With v2.18.2, I noticed (baseline-skip . 0 ) no longer renders with zero space between lines of text, as it did with 2.14.2 and 2.16.1.  A separator bar made up of two stacked vertical text bars now renders with a hairline in-between.  Is there a way to remove this added padding?


The limitation I face is, the gap can’t be removed by using staff-sized text-positioning commands (i.e. \raise), or by replacing the stacked bars with a box (also staff-size-sensitive).


See attached images and minimal code that will render differently 2.16 vs 2.18.  To see the full copyright markup block and example rendered scores, look at 2.16.1 vs. 2.18.2:




\version "2.18.2"      %renders with undesired hairline spacing between lines

%\version "2.16.1"    %renders as desired in this version

#(set-global-staff-size 30)     % markup block should be dimensionally stable for staff-size 15-30

\markup {

                    \override #'(baseline-skip . 0 )

                    \center-column { \abs-fontsize #12 \bold {

                                                      \char ##x01C0

                                                      \char ##x01C0 }  %need ZERO space between these stacked bars


                    \override #'(baseline-skip . 0 )

                    \column { 

                         \abs-fontsize #9 "line 1"

                         \concat {

                             \abs-fontsize #9 "line 2"

                             \abs-fontsize #12 \with-color #white \char ##x01C0 }  %vertical spacer



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Antonio Gervasoni | 29 Jul 06:59 2014

Haipins ending with text: scheme help

Hi everyone,

I'm working on a score where I need hairpins to end on a specific text. I do
this because I don't really like the hairpins with a circle tip. I prefer to
use "n." for niente and "pd." for perdendosi (the first one for strings, the
second one for winds). 

Now, on some occasions the hairpin must end with the text placed just before
the bar line, like this: 

As I find the typical solution of creating a second voice with spacers
rather clumsy, I managed to come up with a better one by tweaking the
snippet for placing text under a hairpin. However, I'm know nothing of
scheme so my solution is far from perfect. The code is here:

hairpinWithRightText =
#(define-music-function (parser location text) (markup?)
  \once \override Voice.Hairpin.after-line-breaking =
    #(lambda (grob)
      (let* ((stencil (ly:hairpin::print grob))
             (new-stencil (ly:stencil-aligned-to
                 (ly:stencil-aligned-to stencil X RIGHT)
                 Y CENTER
                 (ly:stencil-aligned-to (grob-interpret-markup grob text) X
               X LEFT))
             (staff-space (ly:output-def-lookup (ly:grob-layout grob)
               (ly:output-def-lookup (ly:grob-layout grob) 'line-thickness))
             (grob-name (lambda (x) (assq-ref (ly:grob-property x 'meta)
             (par-x (ly:grob-parent grob X))
             (dyn-text (eq? (grob-name par-x) 'DynamicText ))
               (if dyn-text
                   (ly:stencil-extent (ly:grob-property par-x 'stencil) X))
               (if dyn-text
                   (+ staff-space dyn-text-stencil-x-length)
                   (* 0.5 staff-line-thickness)) 0)))

      (ly:grob-set-property! grob 'Y-offset 0)
      (ly:grob-set-property! grob 'stencil
          x-shift X))))

hairpinN = {
	\override Hairpin #'bound-padding = #2.3
	\once \hairpinWithRightText \markup { \italic "      n." }

hairpinPD = {
	\override Hairpin #'bound-padding = #3.2
	\once \hairpinWithRightText \markup { \italic "        pd." }

If you check the original code for this snippet, you will see that I just
changed the word "dir" for CENTER, on the 10th line of hairpinWithRightText.
I have then defined the two hairpins and placed a lot of spaces before each
text. Then, I have increased the padding of the hairpins so that they leave
enough space for the text. The result is here: 

Not a bad result, but the "pd." is not properly aligned (verticaly). See how
the "pd." is placed when attached to a rest: 

You can see the vertical alignment is not the same. It's a tiny difference
but I would like it to be perfect. Also, my solution is not really very
elegant, is it? Can anyone who knows scheme find a better way to do this?
Something simple, effective and accurate? I would appreciate very much any
help on this.

P.S.: this could also be used to end hairpins with normal dynamic text, thus
avoiding the tiresome solution of writing a second voice with spacers.

View this message in context: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055.html
Sent from the User mailing list archive at Nabble.com.
James Harkins | 29 Jul 05:46 2014

cadenzaToMusic function, odd behavior causing barcheck failures


Some time ago, a user here gave me a "cadenzaToMusic" function, which could 
stretch rests in non-cadenza parts to match the duration of a cadenza. 
(That's because I was having problems with compressing the cadenza music to 
fit in a normal-length bar.)

I've used it in a couple of pieces and it's worked beautifully so far, but 
failed in the case below. I expect to get:

(whole rest, fermata) | 2/4 R2 | 6/8 (next section)

Instead, I get

(whole rest, fermata) | 2/4 R2 ...

... and here, the 6/8 appears in the middle of the bar. It looks like the 
barlines are calculated as if the 2/4 bar contained three quarters.

The issue doesn't reproduce in two cases:

- If I replace the \cadenzaToMusic in the \score block with rests adding up 
to the right duration, or

- If I put the part with the cadenza notes (with *no* \cadenzaToMusic) in 
the lowest staff. (I can't do that b/c it's a clarinet cadenza and the 
piece also uses bassoon.)

I'm really quite perplexed why this is happening. Can someone take a look?


\language "english"
\version "2.18.2"

cadenzaToMusic =
#(define-music-function (parser location cadenzaMusic music)
   (ly:music? ly:music?)
   "Adjust the length of `music and the measureLength, to fit the length of
   (let* ((clen (ly:music-length cadenzaMusic))
          (mlen (ly:music-length music))
          (factor (ly:moment-div clen mlen))
          (compressed (ly:music-compress music factor)))
     ;; (format #t "factor : ~a\n" factor)
       \set Timing.measureLength = $clen
       \unset Timing.measureLength

clarCadenzaC = { \cadenzaOn \repeat unfold 31 r8 \cadenzaOff }

globalB = {
  \time 4/4
  \cadenzaOn \cadenzaToMusic \clarCadenzaC s1 \cadenzaOff
  \bar "|"
  \time 2/4 s2
  \time 6/8 s2.

\score { 
  \new Staff <<
    \relative c' {

      % use the following line: barcheck failed, and 6/8 meter is in the 
wrong place
      \cadenzaToMusic \clarCadenzaC r1\fermata

      % use the following line instead (comment the previous one), no 
      %r8 \repeat unfold 15 { r4 }  % = 31 eighth notes

      cs8 d e cs4.
BB | 28 Jul 11:24 2014

predefined mandolin tuning wrong?

\version "2.18.0"



The code will show a wrongnotes, say a-c-e-g instead of g-d-a-e (low to high). Is the code erroneous or the predefined tuning?

Regards BB

p, li { white-space: pre-wrap; }
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Abraham Lee | 29 Jul 01:56 2014

Re: Where to Download the New Music Fonts?

On Mon, Jul 28, 2014 at 5:19 PM, Thomas Morley <thomasmorley65 <at> gmail.com> wrote:

2014-07-29 0:58 GMT+02:00 Abraham Lee <tisimst.lilypond <at> gmail.com>:
2. LilyPond needs to be patched in order actually use the fonts.
I'd be interested in that file, too. Can't find it on the list ...
Although we are going to see if this can be made part of the core code so users won't have to do anything but download and use the fonts, you can do this part yourself.
I'd like to give it a try with some whatever font as well ;)
So, if you're feeling brave, I'll post instructions to set this up before the next stable release!
Currently I've no idea what I'm expected to do. Some instructions would be great.
Which font(s) are you excited to use? Sorry to make you wait. Thank you for your patience. -Abraham
Cheers, Harm


Am I a pushover or what? For those of you who'd really, REALLY like to try this out, check out this page, which has downloads for the patched file and two fonts Gonville and Cadence (sorry, the rest will have to wait for now):

Enjoy everyone!

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Abraham Lee | 29 Jul 01:33 2014

Re: Multiple stanzas to selection of melody

On Mon, Jul 28, 2014 at 5:28 PM, Marten <msvisser <at> planet.nl> wrote:

Hello Abraham, Simon, Thanks for your solutions and quick replies :) I decided to try to implement Simon's third solution, as it explicitly keeps the melody of the stanzas together with their texts. Ingenious - hadn't thought about a solution like that. I have two question about it though: 1. If I use \addlyrics instead of \new Lyrics for the stanzas, an ambitus will be rendered for the stanza and the refrain *separately* (a layout block activating the ambitus, must of course be added). If I use \new Lyrics, as in your solution, only one ambitus for the entire song is rendered (expected behaviour). Why is this so? 2. If the stanza melody begins with a rest, the text gets aligned under the rest. Why? Many thanks, Marten _______________________________________________ lilypond-user mailing list lilypond-user <at> gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user


The reason why it lines up under the rest is because of how Simon notates the lyrics using the numbers to indicate the "duration" of the lyrics. This removes the automatic synchronizing with the notes. Here's Simon's example in the way that I described it before. It removes the need to specify the lyric durations, but may not be what you fix the ambitus issue...

Attachment (fourth-way.ly): text/x-lilypond, 1013 bytes
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Steve Noland | 29 Jul 00:47 2014

Where to Download the New Music Fonts?

Dear all,

Can you post a link where the new music fonts can be found for downloading?  I am unable to get to them on openlillylib.org.


Steve Noland | 29 Jul 00:48 2014

Where to Download the New Music Fonts?

Dear all,

Can you post a link where the new music fonts can be found for downloading?  I am unable to get to them on openlillylib.org.


Marten | 28 Jul 21:47 2014

Multiple stanzas to selection of melody

Dear all,

Trying to typeset a song I am faced with the following problem for which I 
can;t find a solution in the manual or snippet repository. I kindly request 
your help.

I'm typesetting a song with one staff, where the refrain comes first and 
spans multiple lines of notes; after that come 3 stanzas. I'd like the song 
text to be placed under the stanza melody, but I don't want to add empty 
lines to the refrain. I'm looking for a solution with one \score block. Can 
this be done?

In a scetch:

=====several notes, line 1 =====
Text to refrain, line 1
=====several notes, line 2 =====
Text to refrain, line 2
=====several notes, line 3 =====
Text to stanza 1, line 3
Text to stanza 2, line 3
Text to stanza 3, line 3
=====several notes, line 4 =====
Text to stanza 1, line 4
Text to stanza 2, line 4
Text to stanza 3, line 4

To me it would seem logical to change the name of the Voice in line 3, and 
the associate the lyrics of the stanzas with the voice name in line 3. But 
I don't knwo how to do this.
Abraham Lee | 28 Jul 20:47 2014

Re: See the new music fonts in action

On Mon, Jul 28, 2014 at 12:35 PM, Hans Aberg <haberg-1 <at> telia.com> wrote:
On 26 Jul 2014, at 01:14, tisimst <tisimst.lilypond <at> gmail.com> wrote:
I couldn't wait any longer, so here's a formal announcement about the new music fonts that I've been working on, by way of example. They are all 100% LilyPond compatible for both PDF and SVG output. They all (except Gonville) support the full LilyPond glyph set (up to LilyPond version 2.18.2). So far, there are now 9 music fonts in addition to LilyPond's default *Emmentaler* (also called /Feta/ in the official docs).
BTW, is there some effort adding more microtonal symbols? LilyPond can now properly handle microtonal key signatures, it seems.


Good question. If you are glyphs you are referring to are found the default font set,

then this is already supported in the new fonts :) I made sure that the entire glyph set is supported, even if they have to fall back to the Emmentaler ones in some places because I couldn't (or didn't feel like I needed to) come up with one that matched the other glyphs (like the shape-noteheads).

I, personally, don't use the microtonal glyphs, but I'm happy to continue to support them as long as someone uses them! I don't plan on creating other fonts specific to microtonal notation (e.g., Sagittal, etc.).


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