20

There are no commercial developers listed for LilyPond right now. That means that you cannot reliably throw money at a particular problem in order to make it go away while relying on the expertise of developers already familiar with LilyPond. Now how reliably can you do that for proprietary software? The problem is that the proprietary software is not ...


16

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'' { ...


14

The notes in the upper staff are tuplets. As an aid towards your eventual goal, here is some sample code to create what you're looking for: \version "2.19.82" musicA = \relative c' { \key cis \minor \time 2/2 \omit TupletNumber \override TupletBracket.bracket-visibility = ##f \tuplet 3/2 4 { gis8_\markup { \italic { sempre \dynamic pp e senza ...


12

Doh. I omitted the outer curly braces around the two alternatives. The corrected version should be: \relative c' { \key f \major \repeat volta 2 { c4 c c c |} \alternative { { d d d d |} {e e e e |} } }


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 ...


9

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.


9

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"".


9

from a terminal on your mac or linux box: pip install python-ly ly musicxml myscore.ly > myscore.musicxml more information on ly: http://python-ly.readthedocs.io/en/latest/command.html#commands When I read that the state of the art workflow for this involves rendering your score to PDF and then scanning back in with music OCR, I kind of blew milk out ...


8

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 ...


8

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


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 Lilypond ...


8

As alephzero noted you have to set the visibility of the mark. Because these kind of marks frequently need the same treatment you can setup your own commands for them so you don't have to remember the details of the visibility controls and clutter up your code. For example I keep a common library file around with a bunch of commands that I use a lot. Among ...


8

You are looking at a page meant for people who wish to get a new feature into Lilypond (or fix a bug) and are willing to pay for it. It is named "Sponsoring" after all. The page currently lists no developers who are readily available for such work, and instead instructs you to ask around on the mailing list for interested developers. This sort of ...


8

It was actually designed to work this way. From the documentation: Music inside a \transpose block is absolute unless a \relative is included in the block. So instead of having transpose within the relative block, you want to switch it: \version "2.16.2" { \transpose c b, { \relative c'' { bes'4-^ g16 ees8. bes'4-^ fis16 d8. ...


8

Remember that full-measure rests in LilyPond are input with a capital R. Thus every instance where you have r2. (or r2.*8, etc.), you should instead have R2. (or R2.*8, etc.). Making this change in all voices corrects the problem. In the example you gave, it's present in the final lines of both the treble and bass and it's present in two lines each for the ...


8

The notes on the treble clef are triplets. That's all.


8

If all the stems point outward, it's easy, as you've noticed. If the note with a different duration is in the middle of the chord, you can write the noteheads slightly out of alignment so they only touch the stem that applies to them. For example, if you have, in the right hand of a piano score, a quarter note open fifth with a figure in sixteenth notes ...


7

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.


7

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 2/...


7

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 ...


7

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 ...


7

After changing \layout { ragged-right = ##t } to \layout { ragged-right = ##f } it works!


7

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 ways ...


7

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 http://www.lilypond.org/doc/v2.18/Documentation/...


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 ...


7

Furthermore, what if LP becomes abandonware in a few years? I do not worry the same as for Sibelius and Finale, since there has been a large user base. Actually, it's interesting that you say this, since Sibelius actually basically has been abandoned! Much of the staff is now working on Dorico, but Sibelius is now largely abandoned. This is always a risk ...


7

Have a look at LilyPond's automatic accidentals section. They've defined a number of accidental styles for you to use to see what works best. I've found the modern style takes care of it by adding \accidentalStyle modern to the left hand: Of course, depending on how your score is set up, you could invoke it other ways (as shown in the link above) to apply ...


7

LilyPond calls this "proportional duration," and you can find it in the manual here. Within your score block, you'll want to add a layout block: \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1/20) } } You can adjust the ly:make-moment 1/20 to be 1/16, 1/8, etc. That number tells LilyPond "use this fraction of a ...


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