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 ...


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

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 ...


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

No, there is not. Lilypond is just like a programming language: it outputs exactly what you instruct it to. Adding slurs doesn't work for rests, and while they'd make real notes longer, they wouldn't output them as merged notes. Actually, the task you describe is just what I'd expect a program producing Lilypond files would do. It shouldn't be too hard to ...


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.)


5

The book Bartók's Mikrokosmos: Genesis, Pedagogy, and Style, says the following about it: Ch 6, Nos 18-21: The separating sign | indicates the interruption of legato between phrases. Ch 4, Bartók's definitions about musicianship: Phrasing. Curved (slur marks) are used to indicate legato, and they also mark the phrasing. Legato phrases are not to be ...


5

Do you insist on using version 2.18? 2.19 can do it without trouble. You just have to stick the turning point just after the \autochange. So instead of \autochange { music }, you would use \autochange c { music }. This is what my Lilypond 2.19.62 does when I do that with your example (otherwise copied verbatim): \version "2.19.62" \language "german" \new ...


5

You need to restore the default stem direction with \revert Stem.direction because the notes are in a voice that has set the stem direction to DOWN. Use this: \version "2.19.83" \score { \new PianoStaff << \new Staff = "up" { << { \relative c' { \clef bass <g b d>2 <g b> } } \\ ...


5

You can use a variation of this snippet and use a dynamics context to display the time signatures, like in the following example: \version "2.18.2" \score { << \new Dynamics { \time 2/4 s2 \time 3/4 s2. \time 4/4 s1 } \new Staff \relative c' { \key es \major \clef treble << { g'8[-3^\markup { \italic "sempre ...


4

At any point, you can input \stemUp to impact all succeeding stems in that voice. You can revert that behavior with \stemNeutral. I'll let you guess what \stemDown does!


4

See here for the LilyPond documentation on long repeats. \version "2.19.82" voltaFirst = \markup \text "Gems" voltaSecond = \markup \text "Fat" \relative c' { \repeat volta 2 { e4 e e e } \alternative {{ \set Score.repeatCommands = #(list(list 'volta voltaFirst)) g2 g g g \bar "||" }{ \set Score.repeatCommands = #(list(list 'volta ...


4

I make separate score-blocks for the PDF and the MIDI. Something like the following. Note that, for the PDF, the dynamics in \pianoCentredDynamics are separate from the Staffs containing the notes in \rhMusic and \lhMusic. By contrast, for the MIDI for the RH, the dynamics and \rhMusic are put in parallel and all assigned to the Staff -- and similarly for ...


4

One possible problem may be how you organize your voices in the score. Without seeing your code, I'm guessing you have something like this: sample = \relative c'' { g4. e8 << { c8 b a g | } \\ { g''4. e8 | } >> } \score { \new Staff \sample \layout { } } The above code produces: But remember that the ...


4

This can be done with an Acciaccatura. How it is played depends on the time period it was written in, but is largely up to the interpretation of the performer. In classical music this is often played on the beat with the rest of the chord slightly delayed and played immediately after. Sometimes, especially if the Acciaccatura falls at the end of the ...


4

As for the bar numbers moved below the score, there are two approaches. The first would be to just use \override BarNumber.direction = #DOWN to shift the standard bar numbers down. The second approach adds a centred bar number for each bar below the score. This second approach is best described in this snippet. For the first approach, you can use the ...


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 ...


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

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

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


3

Tricky problem! This is a very hacked solution, but it's at least a solution: \version "2.18.2" \score { \new Staff { \time 4/4 \clef bass \relative c' { <bes d f>8. e16 d8 << { s8 s2 | <a e'>1 | } \\ { \stemDown <a~ d~ e^~>8 <a d~ e&...


3

This will be your guide: 4.4.1 Flexible vertical spacing within systems > Within-system spacing properties. Rather than \vspace which is used in \markup, what you need is to find out the properties that affect the context Lyrics. If you want to modify the distances individually between stanzas, you need to individually declare those changes per Lyrics ...


3

In this excerpt there appears to be three distinct voices (I've added colour for clarity). The top voice stays in the treble staff, the bottom voice stays in the bass staff, and the middle voice starts off in the treble and moves to the bass. At no point is any of the three voices resting; so it should look like option 4: However if I am misinterpreting,...


3

To generate a both a PDF and MIDI files when you compile, you just need to add the following lines before you close the last } \layout { } \midi { \set Staff.midiInstrument = #"string ensemble 1" }


3

I've now realized that I put the transposition in the wrong place. The \transpose command was only applying to the contents of the \quoteDuring (i.e. s1), not the quoted music itself. I found this link, which gave me the very simple idea of creating multiple quotes: oboe = \relative c' { \clef treble | c g a b | c e d c | } \addQuote "oboe" { \oboe } \...


3

This answer was a good answer, but I also found in the lilypond documentation that you can add markup to rests quite easily http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests This is the particular snippet I found useful. (you don't have to compress the rests, the \textLengthOn (then off) command will make the measure fit the preceding ...


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