OOoLilyPond: Part 2 – Optimizing

In my previous post I introduced OOoLilyPond (OLy), a relaunched LibreOffice extension to integrate LilyPond music fragments in text documents, drawings and presentations. It covered rather basic topics: downloading, installing and first steps, while today’s post will discuss the more advanced topics of customization for include files and vector graphics. Continue reading

OOoLilyPond: Creating musical snippets in LibreOffice documents

Combining text and music

If you want to create a document with lots of text and some small musical snippets, e.g. an exercise sheet or a musical analysis, what software can you use?

Of course it’s possible to do the entire project in LilyPond or another notation program, inserting passages of text between multiple scores – in LilyPond by combining \markup and \score sections:

\markup { "A first motif:" }
\score \relative c' { c4 d e f  g2 g }
\markup { "A second motif:" }
\score \relative c'' { a4 a a a  g1 }


However, it is clear that notation programs are not originally designed for that task, so many people prefer WYSIWYG word processors like LibreOffice Writer or Microsoft Word that instantly show what the final document will look like. In these text documents music fragments can be inserted as image files that can for example be generated with LilyPond from .ly input files. Of course these images are then static, and to be able to modify the music examples one has to manage the additional files with some care. That’s when things might get a little more complicated…

Wouldn’t it be a killer feature to be able to edit the scores directly from within the word processor document, without having to keep track of and worry about additional files? Well, you may be surprised to learn that this has already been possible for quite some time, and I take the relaunch of OOoLilyPond as an opportunity to show it to you. Continue reading

Supporting Multiple LilyPond Versions

LilyPond’s input language occasionally evolves to accomodate new features or to simplify how things can be expressed. Sometimes these syntax changes can break compatibility of existing documents with newer versions of LilyPond, but upgrading is generally a painless process thanks to the convert-ly script that in most cases can automatically update input files. However, sometimes it is necessary to write LilyPond files that are compatible with multiple LilyPond versions, for example when creating libraries like openLilyLib. The key to this is writing conditional code that depends on the currently executed LilyPond version, and in this post I will describe how this has just become easier with LilyPond. Continue reading

The story of “string bending” in LilyPond

Guitar bending

String bending is a playing technique for fretted string instruments — typical of blues and rock music — where fretting fingers pull the strings in a direction perpendicular to their vibrating length. This will increase the pitch of a note by any amount, allowing the exploration of microtonality. The animated image on the left shows how a string bending is performed on a guitar.

It requires a specific notation: the bending is usually represented on tablature by an arrowed line and a number showing the pitch alteration step (1/4 for a quarter, 1/2 for a half, 1 for a full bend, etc.). It’s a long standing feature request in LilyPond: issue 1196 was created on July 2010, almost 7 years ago, and collected more than €400 in bounty offers. During these years we’ve been able to draw bendings with the help of an external file written in 2009 by a LilyPond user, Marc Hohl. It worked quite well, but it was a kind of hack and therefore had some important limitations. When I happened to promote LilyPond, especially to tablature users, this missing feature was the “skeleton in the closet”. But something interesting is on the way. Last September Thomas Morley aka Harm, a LilyPond user and contributor, announced that he’s working on a new bending engraver, which overcomes those limitations and will hopefully be included in LilyPond in the near future. Let me tell you the whole story…
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LilyPond at the Google Summer of Code 2017

LilyPond has been mentoring students’ projects several times in the “Google Summer of Code” program in previous years, and this year we intend to take that to a new level: both the LilyPond and Frescobaldi projects will be able to accept students. (Frescobaldi is one of the two major LilyPond editing environments, the other being Denemo.) Students can now consider suitable projects to apply for, from March 20 to April 03 2017. Continue reading

Dead notes in tablature now work with any font

The current stable version of LilyPond (2.18.2) has a pretty annoying limitation for tablature users. If you change the TabStaff font to something different from the default (Feta) and your score contains dead notes, you won’t see any symbol on the TabStaff, because the font you chose probably does not have a cross glyph. So, at least in these scores, you are forced to use Feta (a serif font) also for tablature. This implies that you may not be able to write a tablature book in sans serif font or you’ll have to sacrifice consistency. This was the case for a project of mine, where all the pieces without dead notes used a sans serif font, but I had to use serif in those pieces where dead notes were present. Fortunately this has been fixed in development version 2.19.55, released this week. Now my book project will have consistent font settings! Let’s see a simple example.

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Working With Word

I have regularly described the advantages of working with LilyPond and version control on this blog (for example in an ironic piece on things one would “miss” most with version control), but this has always been from the perspective of not having to use tools like Finale or MS Word. Now I have been hit by such a traditional workflow and feel the urge to comment on it from that perspective … Continue reading

LilyPond’s Freedom

Oops, I have to plead guilty for some vanity-Googling my name in combination with “LilyPond”. OK, this is embarassing, but on the bright side it revealed some blog posts I didn’t know yet. And there’s one in particular that I want to recommend today because it’s a post that actually should have appeared here a long time ago (and my mention is actually very minor). Joshua Nichols wrote a very interesting piece on software freedom, which I suggest to read here:

Distributed Editing, Responsibility and Quality

Recently a concern with distributed editing concepts has been brought to my attention. As this adds to other existing reservations I have already been aware of and as I’ll coincidentally be talking about exactly that matter at a “Winterschool” conference in a few weeks this is an opportunity for a post about responsibilities in distributed edition workflows. I am convinced that any reservations about compromising quality of musical editions by giving up established workflows or by incorporating the work of multiple contributors are completely unfounded, or rather solely based on fear of the unknown and fear of change. In fact distributed work with text based tools and version control gives lots of flexibility and exciting new possibilities and adds multiple layers of safety nets rather than adding risks. Continue reading

Google Summer of Code 2016: cross-voice spanners

This summer, I’ve had the special opportunity to participate in the Google Summer of Code (GSoC) program with Lilypond. To describe GSoC briefly, students worldwide are paid a stipend by Google to work on coding projects for various open source organizations. My project deals with spanners, musical objects that start and end in different places, like slurs and crescendi. Specifically, I’ve been working on allowing users to create cross-voice spanners—spanners that start and end in different voices.

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