current version that is in the Arch repository. I cannot
find a pattern for getting the normal Music View to stick.
I hope that was coherent, and perhaps one of the coding wizards can make
some use of it or offer some suggestions. For now, I will use the
wonderful Frescobaldi/lilypond combo on m
e to balance the increase in data transfer (if you're limited
by your ISP) against the inconvenience of visiting the archives when
an attachment looks interesting.
Cheers,
David.
'm accustomed to
using.
is Frescobaldi now required?
I don't see an installer anywhere on my desktop or in the Applications folder.
TIA,
David Olson
San Diego
6 r
\override NoteHead.extra-spacing-width = #'(0 . 0.8)
d,32 e d e d e d c g a g a g a g f d e d e d e d c
\override NoteHead.extra-spacing-width = #'(0 . 0)
g a g a g a g f d e d c f g a c f a c f a16 r
d,32 e d e d e d c g a g a g a g f d e d e d e d c
(I have unfolded the \repeat unfold.)
0.8 seems to replicate the Breitkopf part, but you can fine-tune
the value to taste.
Cheers,
David.
4.0.2 and lilypond to 2.24.4 installed.
I have not been able to find any setting that I may have adjusted by
accident.
Does anybody have any advice on how to solve this?
Sincerely,
David
all gone. Plainly this is due to spacing crowding into
> oblivion. I'm sure there's a solution but I have not found one yet.
>
> TIA,
>
> David
>
> %
> \version "2.24.4"
>
> \score {
> \relative c'' {
> \clef "tenor"
>
ow
to implement such a functionality, for a tiny app I am currently
writing, using guile and gtk: hints, and/or tutorial links welcome ...
Thanks,
David
pgpwq5SMhiktE.pgp
Description: OpenPGP digital signature
because 8 is interpreted as a
duration. One has to use \rhythm { { 8 } }.
Fixes #6221
--
David Kastrup
\new Voice { \alto }
\addlyrics { \altotext }
>>
…
>>
\new PianoStaff <<
\new Staff <<
\clef treble \global
\new Voice { \voiceOne \soprano }
\new Voice { \voiceTwo \alto }
>>
…
In case it's not obvious, I use \transpose f f rather than c c
in order to avoid having ' and , marks involved.
Cheers,
David.
Lukas-Fabian Moser writes:
> Hi David,
>
>> I wonder whether it would make sense to use [! or ]! for a forced beam
>> start/end.
>>
>> The main use of !? is after pitches to indicate accidental printing
>> modifications.
>>
>> The mechanism would
Lukas-Fabian Moser writes:
> Hi David,
>
>> I wonder whether it would make sense to use [! or ]! for a forced beam
>> start/end.
>>
>> The main use of !? is after pitches to indicate accidental printing
>> modifications.
>>
>> The mechanism would
uld not verify lilypond is free of malware that it may
> harm your Mac or compromise your privacy.
so I think this post may help. (Ignore that it refers to 2.24.3.)
https://lists.gnu.org/archive/html/lilypond-user/2024-04/msg00144.html
Cheers,
David.
/msg9.html
(The follow-up to this post also has a recommendation.)
Cheers,
David.
Thanks. That might work as an interim solution.
But there’s got to be a way to access these properties, right? Or is the \book
(\bookpart, \score) context just not available?
David F.
> On Apr 26, 2025, at 9:42 AM, Timothy Lanfear wrote:
>
> On 24/04/2025 04:29, David F. wrote:
I believe using 'copyright' instead of 'tagline' in the header works as
desired by default: print only on the first page (whereas 'tagline' is last
page only).
-David
On Sat, 26 Apr 2025 at 14:23, wrote:
> Peter,
>
>
>
> Look at the last
\score?
I’d like the following MWE to print “TITLE: My Title" below the score.
Thanks!
David F.
===
\version "2.24"
\language "english"
%% http://lsr.di.unimi.it/LSR/Item?id=467
#(define-markup-command (markupWithHeader layout props markup) (markup?)
"Inter
lit across two lines, like in your post.
(To be absolutely precise, I found the string "a full note
head’s width", but that has the sense of "full note-head",
and is being compared with "half a note head’s width".
LM § 5.7.1.)
Cheers,
David.
in both
directions, which I would consider important.
> That’s what I want to solve—not to discuss why.
Yes, the why is obvious: a group of people who use those names.
Cheers,
David.
#x27;() affects ties, slurs, beams etc.
so it's worth reading around section "Multiple notes to one syllable" in the
Notation Reference, about page 30.
Cheers,
David.
Arne Ploese writes:
> Hi Bernhard,
>
> what about:
> \clef "tenor_8"
Double trouble? Either \clef "tenor" (which is something else
altogether) or \clef "treble_8" .
--
David Kastrup
ut?
> 3 Why is this property not mentioned here?
> https://lilypond.org/doc/v2.25/Documentation/internals/score How could I find
> out?
Because this is not intended for anything but backward compatibility?
Why _would_ you want to find out how to use anything but the interfaces
intended to actually stay around?
--
David Kastrup
\override LyricText.self-alignment-X = #-0.6 Haar,
\once \override LyricText.self-alignment-X = 0.8 nimmt …
Cheers,
David.
ond 2.24.4. What could possibly be causing this?
Perhaps this thread helps?
https://lists.gnu.org/archive/html/lilypond-user/2023-08/msg00258.html
Cheers,
David.
Thanks, Hans. Your explanation clarifies the situation nicely.
Best,
David
> On 04/09/2025 5:39 AM EDT Hans Aikema wrote:
>
>
>
>
> > On 9 Apr 2025, at 10:08, David House wrote:
> > So, going through the tutorial. I am confused about the
ote octave? Another explanation why middle c would appear any place
other than above the bass clef staff?
Thanks so much for your guidance.
Best,
David
Thanks so much, Knute and Silvian. Frescobaldi and Lilypond are now
communicating with one another and I can continue with the learning manual.
Best,
David
> On 04/05/2025 10:28 AM EDT Knute Snortum wrote:
>
>
> What version of Frescobaldi do you have? Because if i
just starting with lilypond on MacBook Air. Downloaded 2.24.4. Get this
message when testing setup -
Starting lilypond-2.24.4-darwin-x86_64.tar [Untitled]...
Could not start /Applications/lilypond-2.24.4-darwin-x86_64.tar.
Please check path and permissions.
Went to permissions and select
I want.
Something like the following?
% <
\version "2.24.4"
\markup varFormat = \markup \italic \fontsize #-1 \with-color #blue \etc
myChords = \chords {
\textMark \markup \varFormat "x32010" c
}
\score {
\new ChordNames \myChords
}
% >
--
David Kastrup
)
\score {
\tripletWithOffset 8 8 {
\partial 8 e8 | a2. \tuplet 3/2 { e8 e8 e8 } |
}
\midi{}
}
--
David Kastrup
y".
(BTW you're using mismatched quotes.)
Cheers,
David.
\relative { f'1 \bar ".|:-||" 1 \bar ".|:-||" 1 \bar ".|:-||" 1 }
ehavior that I thought was the purpose of
this snippet? (I don't want it as a one-time tweak, but to
realign all the lyrics in the score.)
--
Thanks
David Rogers
etween the staves as needed (I couldn't
> quickly find a scan in the internet, sorry).
I've only seen those where the soloists are all on one staff, above
the piano, arranged like Alice and Eve in the NR. Then they break out
into multiple staves for trios, sextets, etc.
Cheers,
; > In my mind, a staff has a stable vertical position, whereas a voice
> > doesn't.
>
> Yeah, I didn't think of voices changing staves, so we have a valid
> technical limitation, I guess.
Feel free to ignore that aspect: I'd like to see what the construction
is meant to do when it's applied to only one staff.
Cheers,
David.
usic?)
(make-relative (note) note
#{
$note \transpose c e { $note }
#}))
\relative c' {\termaj c4*1/5 c' \termaj c }
%%Code ends
--
David Kastrup
, a staff has a stable vertical position, whereas a
voice doesn't.
> If this is a known restriction, where is it documented?
In the Internals Reference, alignAboveContext only occurs under
staff-ish contexts, not voice-ish ones, §2.1.x.
Cheers,
David.
conjunction with the
> treble-clef but not imho with the bass clef.
You are very wrong. The C symbol is not related to the clef but
indicates a time signature of 4/4 (unless the time signature style is
overriden).
--
David Kastrup
our help is most welcome!
(It would also be great to get this working with repeat barlines:
||: music :||>
There's a hack in the lists somewhere, in which I draw barlines myself, but
BarLine grobs are obviously needed instead.)
Thanks for looking into this!
David
frameEngraver.ly
Description: Binary data
On Thu, Feb 27, 2025 at 3:44 PM David Nalesnik
wrote:
>
> Interestingly, in the revised file, this tweak isn't needed for scripts
>
Apologies, I was running the code in 2.24. Indeed, a tweak is needed for
the fermata in 2.25.
-David
estingly, in the revised file, this tweak isn't needed for scripts,
but a tweak is needed to get the dynamic into the box:
\tweak DynamicLineSpanner.outside-staff-priority ##f
In the interest of simplicity of use, I wonder if there is a way to get the
engraver to behave in a natural way without needing to tamper with
outside-staff-priority here!
Best,
David
frameEngraver.ly
Description: Binary data
e me, given
> the 13 years that have passed. (I didn't expect it to work, but worth a
> shot anyway.)
>
> https://lists.nongnu.org/archive/html/lilypond-user/2012-03/msg00363.html
>
> LP 2.24.3 here.
>
A few changes are needed. The attached should work for you:
HTH,
David
frameEngraver.ly
Description: Binary data
of those things that doesn't usually matter, until it does.
Cheers,
David.
; >> \conclusion
> >> }
> >>
> >> %%%
> >>
> >> The output is exactly the same but I'm wondering if there are
> >> substantial differences I should be aware of.
> >
> In the second form, the incipit, voiceB, and the conclusion are all in the
> same context. That means that the conclusion will be in \voiceOne. This
> can be useful if you want to, for instance, slur from the incipit to
> voiceB, or from voiceB to the conclusion.
It also simplifies adding lyrics for the same reason.
Cheers,
David.
shown
in the attached.
There's a mention of those heavily annotated barlines in Changes,
at the bottom of p5, but not that specific change, AFICS.
Cheers,
David.
{
\bar ".|:" c1 \bar ".|:" c1 \bar ".|:"
}
{
\bar ".|:-|" c1 \bar ".|:-|" c1
t; c'2. c'4 }
>
> That is, after a duration of 4, add ^\markup "A" as if a note were there.
> Now in the case of the glissando, you really don't need \after, you could
> just write:
>
> \relative c'' {
> \time 3/4
> \override Glissando.style = #'zigzag
> c4 c4
> c4*7/8\glissando
> \hideNotes c,,32 \unHideNotes
> \bar "|"
> R2.
> }
So one or other of those should replace the original example
in NR that is decidedly long in the tooth, dating from 2.12.0.
(Particularly as the original one doesn't really work.)
Cheers,
David.
g/archive/html/lilypond-user/2015-10/msg00545.html
David
>
On Tue 18 Feb 2025 at 09:53:18 (-0500), Laura Conrad wrote:
> >>>>> "David" == David Wright writes:
>
> >> "aplaymidi -p 14:0 score.midi" doesn't crash but hangs and doesn't play
> >> anything.
>
> Davi
sando
> \hideNotes
> c,,4
> \unHideNotes
> \cadenzaOff
> \bar "|"
> % R1*4/4
> }
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8>
t only with
> current MIDI files but with (all?) the others on my website that were
> generated years or decades ago.
Peter Chubb appears to be running timidity 2.14.0-8.3 from Debian
testing/trixie, three versions newer than my June 2018 version.
I've had no problems with 2.14.0-8, but that said, I don't run
it as a client or server for other processes. I always just type:
timidity [options](or a script does).
Cheers,
David.
nd produces the attached here.
(LP 2.24.4)
Cheers,
David.
since the epoch. (If I were firing off
multiple commands at high speed, I'd include nanoseconds, with +%s%N .)
At the end, the script could move the PDF output from the --output
directory to be with .\book_general.lytex, as .\book_general.pdf .
The result should be much shorter paths for the data files.
Cheers,
David.
rd is unnecessary. (The number 20 in
that line is not meant to be changed; it is only there to restate
Lilypond’s default staff size. Using set-global-staff-size --
before the \paper block, not after -- is enough.)
--
Thanks
David Rogers
put of pdfinfo:
$ pdfinfo peter-1.pdf | grep 'Page size'
Page size: 792 x 612 pts (letter)
$
$ pdfinfo bobroff-1.pdf | grep 'Page size'
Page size: 612 x 792 pts (letter)
$
and the script could remind you lastly which way to tumble your
duplex printing.
Cheers,
David.
rscores.
If you want to move a centered lyric, and here you can see that the
centered syllable in the second line is not particularly pretty,
I would use LyricText.self-alignment-X rather than an underscore.
I define three presets that save a lot of typing, but you can always
be more precise when
E, F, F♯, G, A♭.
10 reeds: A, B♭, B, C, D♭.
18 reeds: e7, f°.
20 reeds: b♭, b♭7, b, bm, b°, c, cm, d♭, d♭m, d, dm, d7, d°, e♭, e♭m, e♭7, e♭°,
e, em, e°, fm, f7, f♯7, f♯°, g, gm, g7, g°, a♭, a♭m,
a♭7, a♭°.
22 reeds: a, am, a7, a°, b♭m, b♭°, b7, c7, c°, d♭7, d♭°, f, f♯, f♯m.
and I was just able to copy&paste it from the document.
--
David Kastrup
On Sat, 2025-02-08 at 12:17 +0100, Valentin Petzel wrote:
> Hello David,
>
> > How can I reposition the word "Fine" at the end of a piece? In the
> > particular case I want to alter, I wish "Fine" to appear above the
> > staff, not below it.
>
How can I reposition the word "Fine" at the end of a piece? In the
particular case I want to alter, I wish "Fine" to appear above the
staff, not below it.
David
to
> each chunk, but that is a palaver and I am looking for something
> easier.
You can add the lyrics to the Staff instead of each voice. You just
have to add _ to each set of lyrics so that there's a syllable for
every moment in the staff, ie both voices.
BTW, post
people in
the past having problems with running timidity themselves,
and the fix was killing their timidity daemon. I've never
encountered that problem, never having seen such a daemon.
I don't remember reports of what might have started it.
Cheers,
David.
searching with the keywords "soundfont file
> linux installing".
I would search your distribuition's archive first; for example,
Debian provides fluid-soundfont-gm, fluid-soundfont-gs and
fluidr3mono-gm-soundfont in the archive. For those, you can
therefore use your normal installer.
Cheers,
David.
OW, you need one fewer skips inside your \Devnull. My workaround
is attached. I can't tell whether this feature is a bug, nor whether
it could be bent to your requirement.
Cheers,
David.
\version "2.24.4"
melody = \relative c'' {
c1 d1 e2~ 2 \break f g a b
}
wordsRef
éric BELLOCQ writes:
> David,
> Ok, thanks.
>
> Then, in 5.4.7 of English (and at least French) manual for 24.4, it is said
> that
> \hide
>
> is a short cut for
> \override Clef.transparent = ##t
>
> Are they boch the same than
> \override Clef.stenci
its better to have a "softer" approch. In the
> case you could use :
>
> `\override Clef.stencil = #point-stencil`
That's the same as \hide Clef
--
David Kastrup
e LyricText.self-alignment-X = #RIGHT
>
> \repeat unfold 4 { R8 L }
> }
That's good (though not what you asked for).
> For Lyrics with more than 1 character using:
>
> Lyrics = \lyricmode {
> \override Lyrics.LyricText.font-series = #'bold
> \overrid
. Knowing the contents might help you to
find its origin, or it could even be a step on the path
to making it work.
Cheers,
David.
%%\header {
%% snippet-title = "Aligning lyrics on vowels"
%% snippet-author = ""
%% snippet-description = \markup {
%%Align lyrics so t
weak that will provide that?
"Left" places the /left/ side of the lyric underneath the note.
So using right instead may do what you want.
If even that is not far enough, you could modify your lyrics
to R_ L_, which will shove them yet further over.
Cheers,
David.
at is suggested.
Knute and Valentin also made helpful suggestions, but I'll go with this
one because it is so nearly what I already had.
Thanks all for your help.
David
On Sat, 2025-01-25 at 15:35 -0800, carsonm...@ca.rr.com wrote:
> David,
>
> \version "2.24.4&
I want, except that the turn and its
accidental should appear inside the slur, not outside. I have tried
all sorts of tweaks and overrides for the turn and the accidental, but
without any success.
How can I get the result I want?
David
test.pdf
Description: Adobe PDF document
big rehearsal letters. And the
A isn't giving any indication of the a-line. (I suppose you /could/
raise the crossbar and project it a little beyond the righthand side.)
Personally, I'm not sure I could cope with more clefs. I don't envy
tenors having to cope with G, F and occasionally C clefs already.
Cheers,
David.
contained?
What makes me suspicious is that here on linux I happen to have:
~/lilypond-2.18.2-1.linux-64/lilypond/usr/bin/
which is part of the old-fashioned (≤2.23.6) LP tree (but _not_ in
the PATH). Hopefully yours is not loitering around in your PATH
or the new unpacked archive.
Cheers,
David.
probably isn't worth the hassle.
You might need to wait for a windows user here to check over
your installation(s), something I can't do. Perhaps check your
versions haven't become entangled.
Cheers,
David.
" seems to work.
It's often worth checking both documents/web trees,
as they don't cover exactly the same ground.
Cheers,
David.
On Sun 19 Jan 2025 at 10:58:25 (-0800), carsonm...@ca.rr.com wrote:
> Looked in the index of 2.24 and did not see it.
>
> Where should I be looking?
Notation Reference 2.24.0 p884 (command index) and p910 (LilyPond index).
Cheers,
David.
a directories.
In particular for windows, you should probably avoid having
them in your current working directory.
I would leave the binaries in wherever they were installed. You can
certainly change directory to wherever you place your data files.
Cheers,
David.
e.
(Excuse my terminology.)
So you need to add _ to the lyrics to satisfy that rule:
\addlyrics { A -- _ B C }
I find the structure useful for setting hymns that have a lot
of passing notes, avoiding having to write an alignment part
with a NullVoice.
Cheers,
David.
Valentin Petzel writes:
> Hello David,
>
>> Neither surprising nor an edge case.
>
> I would say it is quite surprising for most users, and definitely an edge
> case.
> It is essentially a case of `\applyContext` silently behaving differently
> when
> the Voi
(length (ly:assoc-get 'length grob-def)))
> (display "+ ")
> (display length)
> (newline)))
>
> \score {
> \relative c'' {
> \applyContext #displayStemLength
> g4
> \applyContext #displayStemLength
> g
> }
> \layout {
> \override Stem.length = #0
> }
> }
> % MWE end --
>
> Best regards,
> Jakub
--
David Kastrup
rd of these (but from
http://lilypond.org/doc/v2.24/Documentation/web/download),
so you want to download the first one in the list above, ie:
https://gitlab.com/lilypond/lilypond/-/releases/v2.24.4/downloads/lilypond-2.24.4.tar.gz
Cheers,
David.
oment' is deprecated;
> use 'tempoWholesPerMinute'
>
> Is that a regression?
That is probably a less than helpful change. Maybe this should instead
be converted to
\set Score.tempoWholesPerMinute = #210/4
since it is more or less the most basic form of accessing this property.
--
David Kastrup
riod, and I protested that non-backward-compatible behavior.
--
David Kastrup
al stencil-routines
> like stencil-whiteout and friends - or am I wrong?
stencil calls should get all the arguments they need. If necessary for
backward compatibility, as optional and/or keyword arguments.
--
David Kastrup
ed in general stencil routines,
Why? Markup commands all get the layout argument (which is either a
layout block or for global markup the paper block), and layouts inherit
from paper.
--
David Kastrup
user/refman.itely (Fingering instructions): adjust manual.
Can't be all that many years...
--
David Kastrup
When you are writing notes to be used by instruments in different
transposition, it is a bad idea to put a \transposition in the notes.
That pins down the relation between written and sounding notes, and you
don't want that.
You can create MIDI to hear what LilyPond's idea of sounding notes is:
the cue notes are engraved by looking at both the transposition of the
current staff as well as that of the quoted staff. For this to work
sensibly, the \transposition has to appear in the staff of the
instrument actually playing at a different concert pitch, not anywhere
else.
--
David Kastrup
just add an ordinary
percussion part that sounds but is prevented from being printed?
--
Thanks
David Rogers
lute and relative notation. It's
probably easiest to use that for the editing.
--
David Kastrup
en before was in Rutter's
Shepherd's Pipe Carol. Carols for Choirs 2 (the orange book) has
commas, but by 100 Carols for Choirs (the white book), they've become
stylised tick marks. (Same editors and publisher.)
Cheers,
David.
<<
> \new Voice = "melody" \relative {
> a'1 a4. a8 \breathe a2
> }
> \new Lyrics \lyricsto "melody" {
> These are the \breathe words
> }
> >>
Attached is some doodling based on the above as there was no MWE.
You might want to decreas
ecent 2.25 releases have the scheme function to-staff-space,
> Otherwise you can get the conversion factor from the paper.
Arguably within markup, the layout block should be the active module.
That would make this just
\override #`(line-width . ,(* 100 mm))
But at the current point of time, this is not the case, and the above
does not work.
--
David Kastrup
o resource),
zathura by pressing Ctrl-R when displaying the document,
evince ditto with Ctrl-I,
mupdf ditto with I.
This avoids having to keep multiple documents, and is safer in that
you're less likely to send an inverted document to a printer and
thereby waste a lot of ink or toner.
Cheers,
David.
te all the fooii variables of interest from
fileii into filei, adjust the \score{ } sections to include the two
voices instead of one, and add Merge_rests_engravers as appropriate.
This method will give melodic lines that are suitable for having
lyrics set beneath them, rather than a blizzard of simultaneity
structures, which can confuse the eye.
Cheers,
David.
fy the fraction to use. \afterGrace not
just precedes the time when optional arguments were possible but also
the time when fractions were general input syntax.
--
David Kastrup
ouldn't this be a context property? [...]
>
> I guess that David has thought about that...
>
>> (Of course, the current implementation of afterGrace makes this
>> comparatively hard to achieve, since the fraction is used for
>> determining the length of a skip IIRC.)
&g
Thanks for making this public, it's an excellent resource. The cluster
chords are very well done.
On Sun, Dec 15, 2024 at 8:20 AM Knute Snortum wrote:
>
> On Sun, Dec 15, 2024 at 7:24 AM Yoshiaki Onishi wrote:
>>
>> Dear LilyPonders,
>>
>> Ever since I started learning LilyPond a little over thr
don't think labelling the
chord name line is all that unusual.
--
David Kastrup
sing
\oneVoice instead.
But you should not need to change _back_ at all. As mentioned in
another post, you are likely misusing \\ for something it is not good
for.
--
David Kastrup
. } \new Voice { the ghost voice } >>
And in particular _not_ using \\ .
> My question: is it possible to add another STAFF to the score, to use
> only to control horizontal spacing? If so, how can it be hidden so it
> won't affect vertical space, show clefs & key signatures, etc?
That way lies madness.
--
David Kastrup
intersection of the people complaining
about the documentation and the people writing documentation is empty.
The path to improving LilyPond does not lie with telling the few
remaining volunteers that they are doing a bad job.
--
David Kastrup
Kieren MacMillan writes:
> Hi David,
>
>>> I, for one, would love to see a list of all properties that are
>>> implied to have an effect on a grob [by interface inclusion] but don’t
>>> actually [due to lack of implementation].
>>
>> The proposal wo
msk...@ansuz.sooke.bc.ca writes:
> On Fri, 13 Dec 2024, David Kastrup wrote:
>
>> > But one might well also ask, if there are useless properties with no
>> > effect,
>>
>> Straw man. There are no such properties.
>
> Then why are you so concerned about w
Trevor Bača writes:
> On Fri, Dec 13, 2024 at 3:46 PM David Kastrup wrote:
>>
>> Why would you want to list a property that has no effect on a grob?
>>
>
> David, please go look at the IR 3.1 entry for TupletBracket ...
>
> https://lilypond.org/doc/v2.24/Docu
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