My version 2.25.25 correctly renders the lyrics as "Na Na".
Thanks to everyone involved for the quick diagnostics, and providing
me with solutions!
I make a lot of teaching materials with lilypond, and
in the past, perhaps one year ago, I could use the
unicodes for the sharp symbol (♯), the flat symbol (♭)
and the natural symbol (♮) within the \addlyrics brackets
and they would render correctly.
With my most recent version of lilypond, "2.25.
That was the ticket. Thanks!
On Sun, Feb 2, 2025 at 7:31 PM Valentin Petzel wrote:
>
> \override changes the defaults of the context, so all grobs created at the
> same time will have the same defaults. Rather use tweaks to change the values
> for a single grob:
>
> \tweak direction #DOWN \start
I would like to put analysis brackets above and below the staff
over the _same_ group of notes.
I started with an example at:
https://lilypond.org/doc/v2.25/Documentation/notation/analysis-brackets
which has two brackets over the same group of notes, both above the staff.
Below is my minimum
Maybe "Analysis brackets" is what you are
looking for.
https://lilypond.org/doc/v2.25/Documentation/notation/analysis-brackets
On Wed, Jun 12, 2024 at 2:56 AM Johannes Roeßler wrote:
>
> Hi Group,
>
> is there a way to mark one tone and semitone steps in Lilypond? Haven't found
> anything on
And that was it!
Thank you so much.
On Tue, Apr 9, 2024 at 3:50 PM Aaron Hill wrote:
>
> You need to adjust the majorSevenSymbol [1].
>
> [1]:
> https://lilypond.org/doc/v2.25/Documentation/notation/customizing-chord-names#chord-name-major7
>
have been creating some lead sheets in
the style of the "Real Book", using
the \chords{} syntax. However,
I do not like the way the default
notates "major 7 chords", that is,
a major triad with a major seventh.
The default is to use a "triangle"
to notate such a chord (shown below
in my example"
Yes it does! Thank you.
On Fri, Jan 26, 2024 at 11:23 PM Vaughan McAlley
wrote:
>
> Hi Ivan,
>
> \new PianoStaff \with { \remove "Span_bar_engraver" }
>
> should work!
>
>
"\override BarLine" for a PianoStaff
I frequently use lilypond for short theory
examples for teaching, and for such examples
I often use the code:
\override BarLine.transparent = ##t
to make bar lines disappear. This has always worked
for me for a single staff, but when I just tried
to do th
It was that simple!
Thanks!
On Fri, Jan 12, 2024 at 7:17 PM Aaron Hill wrote:
>
> You need to do your mods in separate \context sections. See above.
In my short snippet below, even though my
final output is as expected, a C major scale
with some brackets underneath some pairs of note,
I get the error:
> Parsing...
> test_post01.ly:25:8: error: not a context mod
>
>\Voice
Note that I am using "Analysis brackets".
The lilypond parser d
I would like to make a onetime donation toward
the development of Lilypond.
I have searched the archives of this list, and
over and over again, it has been stated that
there is no clear way to do this.
At https://www.gnu.org/software/, Lilypond
is listed as a "current GNU package", but
can one do
Yes, I cannot get your example to compile at all, even with Mr. Morley's
suggested fix.
On Sat, Jul 20, 2019 at 3:23 AM Thomas Morley wrote:
>
> The ">" at \oneVoice> above prevents the example from compiling with
> every ly-version.
> Please check before posting ;)
>
__
About four years ago, I did almost all, if not all of your listed
steps with Lilypond and Ardour.
I wrote a multi-voice score in Lilypond, converted the score
to MIDI, loaded this MIDI into Ardour, and then assigned
the various MIDI voices to various synthesis plugins.
The process did include edi
Your notation of the harmonic on the first beat of measure 3
looked odd to me, and so I compared this note to
two other editions of this piece that I have.
According to those editions, this harmonic should be a "D",
produced at the 7th fret of the 3rd string, not the
"E" that you have.
___
On Sat, Mar 2, 2019 at 11:05 PM Christopher R. Maden
wrote:
>
> I’d like to produce what he’s used to: lyrics with chords above them.
Why not just use MS Word or Latex ? If you don't need musical
notation, why use a music notation program ?
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Would you post an example that compiles successfully ?
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Mason Hock writes:
>
> I use vim for everything except large Lilypond projects that consist of
> multiple input files. The ability to click on an object in the score and
> jump to that place in the code, even if the file containing that code is
> not open, outweighs for me vim's advantages as a te
I am a lifelong vim user and I cannot imagine any other way
to enter or manipulate text, be it for web pages,
documents (which I create with Latex) or lilypond.
I have looked at Frescobaldi, but once one is fluent
with a Unix editor (which means vim or emacs)
Frescobaldi and other third party tool
Gilberto Agostinho wrote:
>
> Does anyone know if it possible to change the tick resolution of LilyPond's
> MIDI output to a value other than the default 384? One reason for wanting
> this change is due to the fact that 384 cannot be divided by 5 and so
> quintuplets on a crotchet are not precise.
On Thu, Jan 4, 2018 at 11:30 PM, David Wright wrote:
>
> So it seems you have several choices:
> remove the accidental,
> shrink it,
> allow the tie and accidental to collide,
> invert the tie (^~),
> shorten it,
> forbid a linebreak just there.
\override Accidental.hide-tied-accidental-after-b
Andrew Bernard wrote:
>
> Only very quickly sketched, and rather deficient, but a more 'normal' voice
> arrangement system, and the tie to the f sharp is clear.
When I compiled your snippet, the exact same issue was present:
the tie to the F-sharp is not clear at all. It _still_
looks like a slur
Andrew Bernard wrote:
>
> Why don't you just create the three voices and notate inside
> each one continuously?
Because this music constantly goes back and
forth between homophonic chords and contrapuntal voices.
This is one of the few places in the 150_ measures
that the music goes to three voic
The two measure snippet of code appended below
creates the notation that I want. The Fsharp
of measure 1 is very clearly tied to the Fsharp
of measure 2.
However, when I use these two measures in my
actual score, lilypond happens to puts a line
break between those two measures, and the
notation
On Sat, Dec 23, 2017 at 3:17 AM, Malte Meyn wrote:
>% this decreases the vertical space between sub. and p
>\override #'(baseline-skip . 1.5)
Overriding the default spacing will be very useful.
Thank you for demonstrating this to me.
___
lilyp
On Sat, Dec 23, 2017 at 3:10 AM, Andrew Bernard
wrote:
>> Can't you just use the \column command of \markup to have two
lines? Refer to the Notation Reference (NR). <<
And that is exactly what I wanted to do. I do read the documentation
but sometimes, things do not leap out at me.
>> Also, w
I have a few places that I want marked "subito piano"
at a 16th triplet to be immediately followed
by crescendo.
The standard way to do this:
-\markup{ \italic subito \dynamic p }
or even by abbreviating "subito" to "sub.":
-\markup{ \italic sub. \dynamic p }
takes up two much horizontal s
You could learn how to use a makefile. That is the
standard way to do such a thing under unix.
Maxime's Music wrote:
>
> What do I need to type to get lilypond to engrave all files in a folder
> (wihout the point-and-click)?
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Thank you both for the solutions, as well as helping gain a greater
understanding of lilypond.
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Hello all:
I don't understand why I am getting the error:
warning: unterminated crescendo
\new Voice {\voiceTwo r8 d8 bf8 r8 a8
\< cs8 }
as both the crescendo start and end points (\< and \f) are
in \voiceTwo.
I am implementing one of the solutions
Thank you to all that responded.
I very much appreciate the support of this list.
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And that does work !
It does appears to be a subtle variation
of Mr. Kastrup's solution.
tisimst wrote:
>
> Instead of this:
>
>
> <<
> { 8 8\< }
> \\
> { f,4 }
>>>
>
>
> Do this:
>
>
> <<
> { \voiceOne 8 8\< }
> \new Voice { \voice
David Kastrup wrote:
>
> Ivan Kuznetsov writes:
>>
>> Is the only solution to define the problem measure as
>> a macro (themusic) and then insert that
>> macro at the appropriate place in the score?
>
> Good grief, no. A macro is completely equivalent to havi
Mark Stephen Mrotek wrote:
>
> Perhaps you could code a second voice with spacers and place the beginning
> and ending of the hairpin exactly.
I have tried using an extra voice with spacers but have yet to
come up with a solution.
___
lilypond-user mai
Thank you Mr. Kastrup.
Whereas the snippet you provided works, I am still
having trouble implementing your solution into
the context of my composition.
Is the only solution to define the problem measure as
a macro (themusic) and then insert that
macro at the appropriate place in the score?
The a
Ivan Kuznetsov wrote:
> Kieren MacMillan wrote:
>>
>> You need to explicitly extantiate the voices, so that the
>> first voice is the main one:
>
> That was a solution. Thanks.
Actually, I spoke too soon. That solution fixed the snippet, but as
Mr. Kastrup said,
Kieren MacMillan wrote:
>
> You need to explicitly extantiate the voices, so that the
> first voice is the main one:
That was a solution. Thanks.
I did have to add the command:
\set Timing.beamExceptions = #'()
to get rid of a bizarre default beaming though.
The warning was:
warning: no
Hello All:
I need a hairpin crescendo to start
on the second eighth-note of beat one
(underneath the B-flat/D-flat diad)
and continue to the forte under the
second eighth-note of beat two
(underneath the D/B-flat/G triad).
The error message I get is:
post01.ly:18:23: warning: unterminated cresc
Kieren MacMillan wrote:
>
> How is it "wrong" for the chord to [additionally] include the
> information 'root = a'?
In some instances the root could be C and the A would be a passing tone.
In other instances, calling any of those four tones a root would
have no meaning. It would depend on the c
I realize I am late on this thread, and I have not even read
the other responses, but I will try to explain why adding
"semantics" to a chord data structure is a mistake.
This "every chord can/should be given a name" hypothesis is a
popular/amateur musician idea that does not exist in the
concert/
I know I am responding late to this, but you don't say
what OS your are using or even what text editor.
I am guessing that you are using some sort of
simple text editor like NotePad or Gedit.
My tip for quick data entry is to learn a Unix
text editor such as Vi or Emacs (personally, I use
Vi/Vim).
Roper has finally posted something I agree with.
On Fri, Dec 2, 2016 at 2:29 PM, John Roper wrote:
> I just don't think
> I am the best person for the job.
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On Mon, Apr 25, 2016 at 2:49 PM, amir wrote:
>
> i am trying to configure Geany to use it for Lilypond. I have made this File
Do yourself a favor and learn vi.
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Maybe the Linux Foundation can help us set up a Lilypond foundation?
Are there any lawyers on this list that can donate their time?
Or perhaps Lilypond software can become sponsored by the Linux Foundation?
N. Andrew Walsh wrote:
>
> ... a foundation ...
>
> It's a hassle getting the initial f
On Sat, Oct 3, 2015 at 7:33 PM, Karen S. Billings wrote:
>
> I'm a former Bell Labs engineer, where I used Unix (vi, awk, shell, etc.)
> everyday.
> I got so used to using those tools, and I find I miss their power...
>
> I'm really struggling to learn how to use the "tools" available to me on my
Do yourself a serious favor and learn vi
Edward Ardzinski wrote:
>
> with Notepad [...]
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Thanks !
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Thank you; I appreciate that.
On Mon, Nov 17, 2014 at 6:04 PM, David Nalesnik
wrote:
>
> Yes--I'm pretty sure I got it to work with larger columns. I'll have to
> search around for that version of the file. I'll get back to you when I do.
___
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This is a question for the Linux-audio-user mailing list.
Go here:
http://lists.linuxaudio.org/listinfo/linux-audio-user
and subscribe.
On Sun, Aug 31, 2014 at 11:01 PM, Guy Stalnaker wrote:
> Dear friends,
>
> I know this is not true "lilypond" topic, but I also know that many of you
> ha
And both do exactly what I was looking for. Thank you Mr. Kastrup and Mr.
Liska!
On Wed, Jul 23, 2014 at 3:15 PM, David Kastrup wrote:
> ivan.k.kuznet...@gmail.com writes:
>
> > In a vocal part I am notating, while the singer mostly
> > sings notated pitches, there are a few parts
> > where th
Music notation is complex. Any ASCII representation of
music notation likewise has to be complex.
Any simplification of lilypond syntax must mean a removal
of features.
The only other alternative is to use a WYSIWYG
editor where you "draw" the musical notation you
want, and good luck waiting for
On Mon, May 28, 2012 at 12:21 PM, Tim McNamara wrote:
> As great as Lilypond's output is, there is a long way to go in terms
> of simplification and usability (the syntax needs to be simplified
> dramatically; a lot of the code users have to write is pretty ugly
> and is going to scare off potent
Thanks again to everyone.
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Thanks!
Sepand Shahab wrote:
>
> You can use \stemUp \stemDown and \stemNeutral to go
> back to normal.
>
> Similarly, \tieUp \tieDown and \tieNeutral
>
> Ivan Kuznetsov wrote:
>>
>> Thanks to all for your quick help!
>>
>> I adjusted the voices
Thanks to all for your quick help!
I adjusted the voices so that the E naturals I
intend to tie are in the same lilypond voice. The tie
now renders and correct notation results _however_ the
problem I have now, is that direction of the stems that
lilypond has chosen for each voice is _not_ the di
Snippet: Tie does not appear
Why does the tie between the two low E naturals that I have
indicated in the snippet below not appear in the notation?
Thanks.
\version "2.12.3"
\include "english.ly"
\score {
<<
\new Staff = "guitar"
{
\clef "treble_8"
\time 4/4
% guitar m0
On Sun, May 8, 2011 at 7:04 PM, Carl Sorensen wrote:
>
> This is not a chord construct, but a parallel music construct. Only one
set
> of angle brackets, and the duration outside.
Evidentally I was not understanding the difference between the two
constructs.
Thanks!
___
If I can trouble you yet again, here is a second snippet
with a similar issue, I would like the triplet E natural
in the top voice to take the same space as the E natural
half note in the bottom voice and then "disappear".
\mergeDifferentlyHeadedOn does not work in this case,
\mergeDifferentlyDott
Damn that was simple! Thank you for the almost instantaneous help!
On Sun, May 8, 2011 at 3:09 PM, Marc Hohl wrote:
>
> There exists a \mergeDifferentDottedOn command, too,
> to cover the merge in the second bar.
>
> See
>
http://lilypond.org/doc/v2.13/Documentation/notation/multiple-voices#i
Matthias Kilian wrote:
>
> I don't think it's the `-q' that causes the failure, because this
> flag only makes ghostscript quiet
And it is not the -q flag as I just ran the command with it.
It is as you say suggest, lilypond is bombing when trying to run
the ghostscript command. But why?
> My b
Matthias Kilian wrote:
>
> Could you try
> to run ghostscript manually to convert it to pdf (but omit the `-q'
> flag)? Like, just run
>
> gs -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 \
>-dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 \
>-sDEVICE=pdfwrite -sO
I see from the logs that I updated ghostscript on April 20.
Might this be the culprit?
On Sat, Apr 23, 2011 at 2:16 PM, wrote:
>
> Lilypond .ly files that created .pdf files just fine
> a few weeks ago no longer work. I get the messages:
[...]
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m...@apollinemike.com wrote:
>
> There's a bracket-visibility property that you can play
> around with (ie \once \override Voice . TupletBracket #'bracket-visibility
= ##t)
>
...
> >
> > Great; this worked _except_ that it just removed the
> > bracket and _not_ the number in the center of the brac
m...@apollinemike.com wrote:
>
> #(set-accidental-style 'neo-modern) at the beginning of each
> staff when there's no time signature, use \once \override
> Staff . TimeSignature #'stencil = ##f and then use \bar ""
> at each point in time where a line break would be
> acceptabl
m...@apollinemike.com wrote:
>
> ivan.k.kuznet...@gmail.com wrote:
> >
> > I have my first page of music notated with lilypond here:
> >
> > http://www.flickr.com/photos/61572029@N04/5603253711/
> >
> >
> > CONCERNING area's marked in red A1 and A2:
> >
> > Sometimes I require one note to have two
m...@apollinemike.com wrote:
>
> ivan.k.kuznet...@gmail.com wrote:
> >
> > I have my first page of music notated with lilypond here:
> >
> > http://www.flickr.com/photos/61572029@N04/5603253711/
> >
...
> >
> > CONCERNING the area's marked B1, B2, B3, and B4:
> >
> > Look at B1 for example. The t
I have my first page of music notated with lilypond here:
http://www.flickr.com/photos/61572029@N04/5603253711/
CONCERNING area's marked in red A1 and A2:
Sometimes I require one note to have two stems indicating
that the note belongs to two voices. A2 worked out
as I intended but for A1, ide
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