13

Invocation make will search the current directory for a file named Makefile or makefile, so it's often simplest to name it one of these two choices and then invoke with the simple command: $ make If you use the uppercase 'M' then the file will usually be listed at the top according to alphabetical or collation order. Rules make operates by using rules ...


9

As noted in Rosie F's answer, the natural is not typically required here in modern notation. But if you wanted to get it in Lilypond, I don't think there's a default accidental setting that will display these in this circumstance. Instead, you probably will need to use the Accidental.restore-first property. Something like: b(-3 g) g g \tweak Accidental....


8

A first approach would be to change the text of the tuplet number and append a small slur: bow-up = \markup { \with-dimensions #'(0 . 3) #'(0 . 0) \override #'(filled . #t) \path #.1 #'((moveto 0 0) (curveto 1 1.2 2 1.2 3 0) (curveto 2 0.9 1 0.9 0 0) (closepath)) } bow-down = \markup { \with-...


7

The note with the two accidentals is an A#. The B has a natural, showing that the key sig has at least one flat. I guess it has at least 3 flats, so As are flat unless otherwise stated? There used to be a convention that if, say, the key sig makes As flat, and you want an A#, you put a natural and a sharp, as shown in your extract. (Modern practice is to ...


6

If you think your players will understand lesser-known Italian terms, use 'a piacere'. Or, if you want to control the performance to the extent of NOT wanting it 'straight', try 'expressivo, ped. ad lib.' (In the absence of instructions, pianists will 'pedal ad lib.' anyway.)


4

You can add -dbackend null to your command, which will suppress the output of a printed score. Alternatively, you can use -dno-print-pages. A midi file will still be generated, as long as a \midi{} block is defined in your score. So, you command should look like this: lilypond -dbackend=null my_file.ly Or like this: lilypond -dno-print-pages my_file.ly


4

luser droog’s answer gives a good overview of make itself. Here’s an example of how to apply that to a real-world Lilypond project with the following characteristics: Multiple parts: piano, bassoon, etc. Multiple movements. Multiple desired outputs: a single “master” (conductor) score, a master score for each movement, and a part score for each instrument. ...


4

I would use the partcombine function together with the partcombineChords command this way: { \clef bass \partcombine { \partcombineChords g,4 } { <d c'>2 } \partcombine { \partcombineChords g,4 } { <f b!>2 } } Afterwards you shouldn't forget \partcombineAutomatic if necessary.


4

Your guess is correct about the meaning of the notation. Usually, for strings this implies that you play the lower note briefly at the beginning and then play the double-stop with the upper two notes and hold that for the rest of the duration. For Lilypond, I can immediately think of two common ways to do something like this. (1) The simplest is to tweak ...


3

By default, the page number is not printed on the first page, so adding print-first-page-number = ##f won’t change the default setting. Rather, you first need to check whether LilyPond would by default print the page number on the relevant page. This can be done with \on-the-fly #print-page-number-check-first (see also the relevant section in the LilyPond ...


3

The difference in the two example is going "from a piece to a piece" in the first one and "from a piece to a part" in the second one. The other confusing thing about the transpose command in Lilypond is that only the difference between the two notes is important. In the first example there is a real transposition. When the transposed music is played, it ...


3

You can just put several scores below each other. Each of them can have an own \header. You cannot use title or composer here, but you can use the piece option to give each of these scores a title. \version "2.19.83" \header { title = "A couple of songs" tagline = ##f } \score { \header { piece = \markup { \vspace #'2 \fill-line { \bold \huge "...


3

This seems to be a problem with the way LilyPond handles the so-called grobs. The system bracket obviously has a height of zero, so that it does not affect the clipped area, but instead gets clipped itself. Anyways, as soon as you type notes into the lower staff that reach below the lowest staff line or if you append things below staff (such as dynamics or ...


2

As far as I know, LilyPond does not provide a command line option for this. The only way I can think of is to comment out the midi block. However, your approach using sed is very promising! To avoid the problem of your midi block containing several lines, you could write a macro that contains the whole midi block with all your settings and place this macro ...


1

I found a Snippet with a function on the LilyPond Snippet Repository(LSR): \version "2.18.2" staffSize = #(define-music-function (parser location new-size) (number?) #{ \set fontSize = #new-size \override StaffSymbol.staff-space = #(magstep new-size) \override StaffSymbol.thickness = #(magstep new-size) #}) \score { \new Staff % ...


1

The PDF file is generated directly from the EPS file, as far as I know. EPS and PDF files generated by LilyPond don’t actually have a resolution, because EPS is a vector image file format that relies on paths instead of a pixel grid to display graphics. These paths can be scaled to any size without quality loss regarding resolution. The PDF file just ...


1

The solution can be found hidden in the documentation on this page in a section beginning "When alternate endings are added..." In short, we have to tell LilyPond to change some measure lengths. For the first ending, we have to specify \set Timing.measureLength = #(ly:make-moment 2/4); then we return to \set Timing.measureLength = #(ly:make-moment 3/4) for ...


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