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11

Use \once \set chordChanges = ##f at the location where you want to force the chord symbol. \score { << \new ChordNames { \set chordChanges = ##t \chordmode { \repeat volta 2 {g1} \alternative { {c} {\once \set chordChanges = ##f c4 g c c} } } } \new Voice = "one" { \relative c'' { ...


9

I've stumbled up on the answer to my own question. Either of the following should work: \set restNumberThreshold = #1000 % Some large number \override MultiMeasureRestNumber #'stencil = ##f The first is a bit hackish and not very robust (it sets the number of rests required to display the number extremely high), but the second may have unintended ...


6

Leaving out the number is an approach I have never seen in classical orchestral scores. Typically the last tutti note has a fermata, followed by a one-bar rest also having a fermata above the text "Cadenza". Of course, this leaves open, when to start again, which is the reason, why classical cadenzas end with a trill to be easily recognized. In smaller ...


6

Please read the magnificent documentation at lilypond.org specifically: http://lilypond.org/doc/v2.17/Documentation/usage/command_002dline-usage music.ly: #(use-modules (guile-user)) #(format #t "Using style sheet: ~a\n" style-sheet) \include #style-sheet \relative { c' d e } style-default.ily: % style defs Then run, lilypond -e '(define-public ...


5

You can both load definitions that change the input name of notes (e.g. the German style definition changes the input syntax for a 'b' to 'h') and apply automatic transpositions (\transpose c e {...}). Between those two features, you should be able to notate anything in any way you want.


5

I'm guessing 'cg' is for conga, given that most of them start like that. I'm pretty sure: o = open tone m = muted tone ss = slap? sidestick So 'cgho' = Conga high open tone; 'cglm' = Conga low muted tone. I'm not sure why the 's' for slap is doubled and lacks a 'cg'. If you aren't familiar with these terms, you should be, since you're writing for it. ...


5

Maybe the command \divisioMinima shown for Gregorian chant notation would be a hack for you. I have not checked, if it can be followed by a bar. Same thing but other notation would be f1 \bar "'" g1 which yields: However, this both are bar lines which could confuse your lilypond interpreter. If you are not checking the bar length, it should not be a ...


5

Yes, you're right - you must declare the variable before using it. Hope this helps: verseText = "Verse" verseNotes = \relative c' { d8^\markup { \verseText } d d d16 d d8 a r4 | cis8 cis cis cis16 cis cis8 a r4 | } verseSection = \relative c' { \repeat volta 2 { \verseNotes } gis'1 | ...


5

The Bar Numbers and Rehearsal Marks segments of the documentation indicate how to do this: c1 | c1 | c1 | c1 %location where music has been elided % I'd do something like: s1^"2nd Movement Deleted" | s1 | s1 | s1 \break % which inserts a line of blank bars, with a comment above % indicating what has been removed %reset the bar-number counter to the ...


4

You have to specify the property tupletSpannerDuration to get several tuplets using only one \times command: \set tupletSpannerDuration = #(ly:make-moment 1 8) \times 2/3 {c16 d e d e f } See LilyPond Documentation for more on this.


4

Try something like \version "2.18.2" Amen = << \new Staff << \key g \major \relative c'' { \voiceOne g2 g \bar"|." } \new Voice \relative c' { \voiceTwo e2 d \bar"|." } >> \new Lyrics \lyricmode { A2 -- men. } \new Staff << \key g \major \clef bass \relative c' { \voiceOne c2 b \bar"|." ...


4

Here are two possible solutions. 1: You don't seem to need two voices from aes8 onwards, so use this: \relative c' { << { c4 c c c8 c c4 bes8 aes4. aes8 aes } \\ { g8 aes f g4 aes f8 aes8 g f r8 r2 } >> << { bes8 bes2 } \\ { f8 g ees f4 } >> aes8( g f <f ees>4.) g8 ees des \clef treble } 2: You can ...


4

Try song = { \repeat volta 2 { a1 } \alternative { { a } { b } } \bar "|." } harmonies = \chordmode { a1 b c } \score { << \new Staff = "melody" \with { \accepts ChordNames } << \new ChordNames { \set chordChanges = ##t \set noChordSymbol = ##f \override ...


4

You can, of course, write < g a c e a >4 q q2 If you want to mix different chords, this is not feasible. With the restriction of always needing a duration, you can write something like makevoicing = #(define-scheme-function (parser location m) (ly:music?) (define-music-function (parser location d) (ly:duration?) ...


4

\version "2.18.2" \header { title = "Title" composer = "Composer" } \paper { markup-system-spacing #'basic-distance = #50 } \relative c' { c } See here for more information.


3

Maybe adapting the "Isolated percent repeats" snippet may help: just replace the whole note by a longa: makePercent = #(define-music-function (parser location note) (ly:music?) "Make a percent repeat the same length as NOTE." (make-music 'PercentEvent 'length (ly:music-length note))) \relative c'' { c1 | ...


3

Just after posting, I found the answer to my own question in the Lilypond Documentation. For version 2.16 (which I'm using): In addition, you can specify "||:", which is equivalent to "|:" except at line breaks, where it gives a double bar line at the end of the line and a start repeat at the beginning of the next line. so one would write: ...


3

I think that your problem isn't intrinsically with the triplets, but rather with controlling beams; one approach is to manually set the beams: Running lilypond 2.16 on { \times 2/3 {c16^"Two 3-note phrases" d e } \times 2/3 { d e f } r4 r2 \times 2/3 { c16^"Manual Beaming" [d e] d [e f] } r4 r2 \set tupletSpannerDuration = #(ly:make-moment 1 8) \times ...


3

Taken from the link in user6456's answer are 2 links, comparing the old \partcombine with the new one: Old: http://lilypond.org/doc/v2.0/Documentation/user/out-www/lilypond/Automatic-part-combining.html#Automatic%20part%20combining New: ...


2

Apply the patch in http://code.google.com/p/lilypond/issues/detail?id=3835 or wait for it to appear in upstream. By the way, if issues such as these do not get reported to the actual project mailing and bug lists, it is shere luck whether they get picked up and fixed at some point of time or not.


2

After some great help from SuperMusicman, I finally got it to work and I believe, this is the most actual syntax for the snippet from my question. \score { << \new StaffGroup << \new Staff \with { midiInstrument = #"violin" instrumentName = \markup { \column { "Violini I" ...


2

I think, there is no need to restrict the contents of one brace to 3 notes only, so for consecutive triplets, as in your example, a minor compression can be: \times 2/3 {c16 d e d e f}


2

It's worth pointing out that as of LilyPond 2.17.11, you can write \tuplet 3/2 8 {c16 d e d e f} and get 3:2 tuplets in groups of duration 8 (in this case, two groups of three tuplets each). This is basically the same as temporarily overriding tupletSpannerDuration.


2

You can extend the two-voice stuff longer but you don't need spacer rests in the second voice. The musical expression is as long as the longest voice. Further the rests in the second voice look unnatural. I would use spacer rests here. \relative c' { << { c4 c c c8 c c4 bes8 aes4. aes8 aes } \\ { g8( aes f g4) aes f8 aes8( g f s8 ...


2

I was also thinking of some variation of a breath mark. http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-curves#breath-marks Using standard breath mark:** c2. \breathe d4 Using a tick as the breath mark symbol: \relative c'' { c2 \override BreathingSign.text = \markup { \musicglyph #"scripts.rvarcomma" } ...


2

I suspect that this is a caesura, which is usually notated in the following way: A caesura is a brief, unmeasured pause in the flow of the music. Although I am not certain, the fact that it appears in both staves and that it occurs right after a very long phrase and at the end of the measure, makes it seem likely to be a caesura. The caesura is probably ...


2

I would use \vspace inside a markup block, like so: \header{ title = "My Song" } \markup { \vspace #10 } \score { \relative c'' { a b c } }


1

I use the following as my header (since version 2.16): \paper{ indent=0\mm line-width=120\mm oddFooterMarkup=##f oddHeaderMarkup=##f bookTitleMarkup = ##f scoreTitleMarkup = ##f } \relative c' { c4 d e f | g a b c } and compile it using lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png test.ly. The ...


1

Due to a problem with the stackexchange site I add an answer with the same code. I want to use it to experiment with the stackexchange formatting, \relative c' { << { c4 c c c8 c c4 bes8 aes4. aes8 aes } \\ { g8( aes f g4) aes f8 aes8( g f s8 \once\hideNotes aes2) } >> << { bes8 bes2 \stemDown aes8( g f <f ees>4.) } ...


1

I see various sections in the Lilypond documentation expressing stuff in Scheme, but this is likely last thing I want to be doing while entering music. Better get used to it, though. At pure LilyPond level, you can only assign static music expressions. While one can introduce a bit of variation into those using \tag, it's not really a parameterization. ...



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