11

Lilypond has several options to automatically display accidentals. I'm not sure which one suits you best, but perhaps one of these: teaching This rule is intended for students, and makes it easy to create scale sheets with automatically created cautionary accidentals. Accidentals are printed like with modern, but cautionary accidentals are added for all ...


11

The easiest way to achieve this is to insert empty chords with <> that catch the open slur or tie. The following code ... << \new Staff { << { f'1( <>) } \\ { \voiceThree e'4_( dis'8 cis') dis'2_( <>) } >> R1 R1 } \new Staff { << { g'8 d'' g''2.( <>) } \\ { g'1( <>) } >> R1 R1 } >> ...


11

You can use rehearsal marks. So just add something like this to your code: \mark\markup{\bold\box "Verse 1"} You'll get something like: If you really want the rehearsal mark to appear below the tempo indication (like in your image above), you will have to change the priority before you add the rehearsal mark: \override Score.RehearsalMark.outside-...


10

This is the act of engraving different voices within a single system. In LilyPond, it is created with the << { *voice1goeshere*} >> \\ << { *voice2goeshere* } >> construction. Here is the relevant portion of the LilyPond manual. As a sample: \version "2.19.84" \score { \relative c' << { r4 <e g>4 q q | % ...


10

Lilypond has the great ability to make anything look like anything. Really, any object has a property stencil, which tells Lilypond how the object should be rendered, and it can be overridden by whatever you want. If you override it with #ly:text-interface::print, you can then specify any markup in a property called text. In your case, I would use any time ...


9

Here I am overriding the barline stencil: fancyMarkup = \markup \with-dimensions #'(0 . 0) #'(0 . 0) { \raise #-2.5 \center-column { "D. S." "al" "Fin" } } \new StaffGroup << \new Staff { b1 b b b b \once \override Staff.BarLine.stencil = #(lambda (grob) (ly:stencil-...


9

There isn't a way to do it, I'm afraid (or at least a practical way). However, your problem can be solved by a trick that is very handy in complex situations like these. Just add a NullVoice into your staff, so you will have something like \new Staff << \new Voice = "lead" { \melody } \new NullVoice = "lyricguide" { \...


8

You can define global defaults for grace notes with startGraceMusic and stopGraceMusic. The following code: startGraceMusic = { <>( \override NoteHead.font-size = #3 } stopGraceMusic = { \revert NoteHead.font-size <>) } \new Staff { \relative c'' { \grace { b16 } c4 \grace { b16 } c4 \grace { b16 } c4 \grace { b16 } c4 ...


7

There's a NoteNames context which seems to do what you want. I haven't tested the solution below, but I'm glad you did and it worked for you: scale = \relative c' { c d e f g a b c } \new Staff { << \scale \context NoteNames { \set printOctaveNames = ##f \scale } >> }


6

I don't fully understand what you're looking for in the bottom example. Feel free to clarify, or perhaps this answer will move you in the right direction. This solution specifies the number of staff lines while also specifying their positions. \version "2.18.2" \relative c' { \new DrumStaff << \drummode { \override Staff....


6

It looks like that TuxGuitar fails to set the proper clef. Just find the music in the lilypond file and put \clef "G_8" in front of it. That will do the trick. Explanation: As Tom_C correctly points out, guitar is written in treble clef but one octave higher than it actually sounds. TuxGuitar apparently just sets a treble clef (or no clef at all, ...


6

Use a capital R2. (including the "dot" for dotted half-note) for your rests to indicate a full-bar rest. See here: http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#full-measure-rests Based on the rest placement, Lilypond is interpreting your rests as lasting four beats, thus crossing the bar lines. That seems to be why the blank ...


6

The order in which several things are stacked vertically is controlled by the outside-staff-priority. The lower the priority, the closer to the staff. You can find all the info in the in the corresponding section of the docs. As for the fingering, the easiest way would probably be using a tweak (at least if you want to do this in one place only). Instead of ...


6

**f2.:maj7 d4.:maj7, bf4.:maj711+, g4.:maj9, and ef4.:7 fs2.:m7/a d2.:maj711+ b2.:m9 g2..:maj711+ a2..:maj711+ fs2.:m9 d4.:maj9 b4.:m9 g4.:maj9 ef4.:m75- a2..:maj711+ d2.:maj711+ b4.:m9 g4..:maj711+ ef4.:m75- e4.:7 a2..:maj711+ d4.:maj7 d4.:m7 cs4.:m75- fs4.:7 b4.:m7 ef4.:m75- a2.:maj7 a2.:5** I see a couple of commas and ...


5

As simple as: R1 * 3/4 Read a whole-bar rest. Which is 4 quarter notes. 4 quarter notes divided by 4, times by 3 is a whole-bar rest in 3/4 time! Edit TLTR They are not whole-note rests, either in 3/4 or 4/4 time but whole-bar rests, to be clear. They have a default value of 4 quarters. My way Larger than 4 quarter-notes: 5/4 is R1 * 5/4 Equal to 4 ...


5

Here's what you can do about it: That is caused by the grace notes. They always come in before the beat, so the program behaves according to this logic: "Let's start the two staves. OK, the top one has to have a treble clef, and the other has no clef specified yet, so let's put a treble clef in it too. Now put some grace notes in the top staff and a ...


5

I read the answer from @Ramillies, the document is comprehensive but I did not figure out how to use the commands correctly. Then I found a very simple example in the doc page Expressive marks attached to notes. Now this vertical stack of markups is exactly what I want: My source code: ... %% fingering symbols fngaLong = \finger\markup{\box{\pad-markup #0.2 ...


4

You can input an empty chord with <> and let the hairpin end on it. This way, you don’t need to input an \override or scale the duration. \new Voice { \time 3/4 \relative c' { a'4(\< b c) | <b d>2.\fermata <>\! \bar "||" } } The above code should render as:


4

The hairpin that ends on the first beat of a measure stops at the bar line. To change this, override the property to-barline to false. ... f4-. \p a-. c-. | e,-. g-. c-. | \once \override Hairpin.to-barline = ##f a( \< b c) | <b d>2.\fermata \! \bar "||" ... See here: http://lsr.di.unimi.it/LSR/Item?id=595 If you want the hairpin to go further ...


4

Use this just like the first example from the page you linked: lilypond -dbackend=svg filename.ly


4

Certainly: just put ragged-last = ##t into your paper block. That should do it.


4

The dynamics staff thing is a good idea. Your problem is very simple: you put the hairpin at the first beat of the bar, but you need to put it "an 8th grace note before" that. Instead of s8 \> s4 s4 s8 \! just write \grace{s16\> s} s8 s4 s s8\! And, by the way, it's not needed to copy any particular rhythm with the contents of your Dynamics. So you ...


4

As already mentioned, this is generally not a good idea. Nevertheless, what I think you want can be achieved by adjusting the padding between the staves in a grand staff. NB: The staff-staff padding number will depend on the notes in your score \new GrandStaff \with { \override StaffGrouper.staff-staff-spacing = #'( (padding . -1.1) ) } { ...


4

Middle C will be added to either the treble or bass staves as ledger lines. The reason it isn't centered in the middle, is because it will be associated with the bass or treble. Maybe you can get it to be centered, but you will be running contrary to how middle C is read by the player as a ledger line added to one or the other staves. ...if a ledger line ...


4

Not sure about the versions (you're correct to say that the older Lilypond won't make the notes appear twice, while the newer does --- you can also try it in Lilybin if you click on the "Stable" button and change it to "Development"), however, you have a simple error in there that explains it. In your piano staff, you have \new Staff = "up" \scoreARight { \...


Only top voted, non community-wiki answers of a minimum length are eligible