# Tag Info

## Hot answers tagged lilypond

13

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'' { ...

10

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 ...

8

I'm assuming you are turning a hand- written score into a digital one. You're problem is that you have written this: f8 b4 a8[ g] f2 The key signature shows that F, A, and G need to be sharped, but you've written then as naturals. Try this: fis8 b4 ais8[ gis] fis2 The "-is" tells Lilypond that you want that note sharped, an "-es" tells ...

7

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 ...

7

The usual advice for this is \layout { \context { \Staff \RemoveEmptyStaves }}. Does that do what you want? For breaks at non-bar-line point the usual trick is to insert an invisible bar line via \bar"".

7

LilyPond's input is key-independent. While in equal-tempered tuning the absolute pitch of C sharp and D flat are the same, the musical/scale function is different. Scientific pitch notations usually retain that difference even though basically all keyboards (and the Midi standard) drop it. LilyPond also retains that difference and preserves it even when ...

6

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 ...

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 ...

6

In newer versions of LilyPond \override MultiMeasureRestNumber #'stencil = ##f can be expressed as \override MultiMeasureRestNumber.stencil = ##f or even shorter as \omit MultiMeasureRestNumber All of that does exactly the same. It's just syntactic sugar.

6

Use /autochange: \new PianoStaff << \new Staff = "up" { \new Voice = "melOne" { \key g \major \autochange \relative c' { g8 b a c b d c e d8 r fis, g a2 } } } \new Staff = "down" { \key g \major \clef bass } >> For more information, see ...

5

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.

5

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 ...

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 ...

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

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

The answer is "Yes you can, but doing this is a really bad idea". It's a bad idea because you will probably soon want to write C natural or F natural with a D major key signature, and if you make "c" mean "c sharp" you won't have a good way to do that. If the key signature changes during the piece, things will quickly get very confusing. Check out "note ...

5

The problem is that this is not a common notation, and the meaning of the symbol "C/Em" is unclear. What Lilypond can do - as you know - is add a letter after a slash, e.g. C/E, which means that you're supposed to play a C major triad with the note E in the bass. What does exist are polychords where two different chords are stacked on top of each other. ...

5

I got an answer from Knute Snortum on the LiliyPond mailing list here After my score block I can add a markup block like this \markup { \column { \line { \null } \line { 2. Here I go } } } It turns out that this is covered in the LilyPond documentation (printing stanzas at the end) but they use the term 'stanza' and so my ...

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

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.

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

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 ...

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

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

4

It isn't Lilypond, but the similarly-text-based ABC notation format has an open source javascript renderer named abcjs, which you might find interesting.

4

The Auto_beam_engraver does not beam over rests, bar lines, manual beams or breathing signs. The Notation Reference is quite explicit regarding the beaming across rests: "Beams must be entered manually if beams are to be extended over rests."

4

While reorganizing your material as shown in the alephzero reply may make independent sense, if you don't want to see instrument names in staves, just adding \context { \Staff \remove "Instrument_name_engraver" } to the inside of your \layout block might get rid of any interpretation of the respective properties. They'll still be set. Note that most ...

4

In order not to complicate the example by adding additional spacing until LilyPond prefers to pick a kneed beam on its own, I am using a voicing change to get this, moving from "first voice" settings in the lower staff to "fourth voice" setting in the higher. Usually \voiceOne/\voiceTwo (can be implied by << ... \\ ... >>) should be used for the ...

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