code 1.
On Thu, Jan 27, 2022 at 5:37 PM Valentin Petzel wrote:
> Hello Michael,
> Could something like this work?
>
> Cheers,
> Valentin
>
> Am Donnerstag, 27. Jänner 2022, 23:13:49 CET schrieb Michael Rivers:
> > Does anyone know if there was ever an answer to th
Does anyone know if there was ever an answer to this? I’m re-engraving a score that has a piano pedal style with “Ped”, then a solid line, then a “*” at the end. It’s close to “mixed” style but with an added “*” at the end. Thanks in advance,Michael
aham Lee
wrote:
>
>
> On Sat, Jan 15, 2022 at 6:47 PM Michael Rivers
> wrote:
>
>> That sounds exactly like the case. Would anyone happen to know how to
>> install the fonts system-wide?
>>
>
> I'm not Aaron, but this is very easy to do. However, Windows treat
Done. Thanks for the tip, Werner.
On Sun, Jan 16, 2022 at 12:40 AM Werner LEMBERG wrote:
>
> >> Yes, I managed to figure that out. It would be nice if Lilypond
> >> could find fonts for the current user too.
> >
> > Definitely. Looks to be an issue with fontconfig [1] and not
> > LilyPond.
> >
That sounds exactly like the case. Would anyone happen to know how to
install the fonts system-wide?
Thank you so much, Aaron.
On Sat, Jan 15, 2022 at 7:40 PM Aaron Hill wrote:
> On 2022-01-15 5:14 pm, Michael Rivers wrote:
> > I'm pretty sure text fonts on Windows are kaput. Some w
the
> system knows about, even when they are not installed in c:\windows\fonts.
>
> If lilypond is looking at the fonts directory, it will see only those
> fonts in that directory, and not those installed elsewhere in the system,
>
> On Sun, 16 Jan 2022, at 12:14, Michael Rivers wrote
I'm pretty sure text fonts on Windows are kaput. Some work, some don't. The
fonts I'd like to use show up as installed properly in Settings and work in
all other apps I've tried, but not Lilypond. I'm on Windows 11, but I've
also tried on Windows 10.
The fingering here collides with the tempo. If the cross-staff beams are
commented out (all notes on the upper staff), the fingering displays fine.
Is there a workaround? Am I doing something wrong?
\version "2.23.5"
global = {
\time 6/8
\tempo "Allegro"
}
goUp = { \change Staff = "right"
The Score Wizard is fixed for Windows 10 in the latest version, 3.1.1.
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The score wizard does nothing for me in Frescobaldi 3.1 (Windows version). I
uninstalled it and reinstalled the old version, whose score wizard works
fine.
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Are you looking for this?
\override Staff.Fingering.direction = #DOWN
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I have always had formatting problems printing from Frescobaldi too. The
built-in PDF printer in Windows 10 works just fine for me.
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When I run into this problem, I just print an invisible note somewhere that
forces more space between the staves. I believe I read about that solution
somewhere on this forum years ago.
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I was just about to post that solution (print-all-headers, no book or book
part). I also do short children's piano pieces. The solution also works for
variations.
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That's fantastic! I'm installing it now. Thank you so much.
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"This looks like it should be the standard behaviour of Lilypond. Can
anybody tell how the chances are of integrating this into off-the-shelf
Lilypond? Would be really convenient."
Finding out about this bug and how to work around it is almost a rite of
passage for Lilypond users. I know
I was setting a song by Lior Novak and got an error message 1073741819 with
these chords:
\version "2.19.47"
\relative c {
1~-- |
|
}
If I remove either the tie or the tenuto on the first chord, it compiles
fine.
I got around the problem by tying the notes individually ( ),
Really?
Hi Urs,
> Overriding #'padding or #'outside-staff-padding doesn't have any useful
> effect either.
Really?
No need to be sarcastic in a reply to an honest question.
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Yikes -- $559! Even if the output were better than Lilypond's, that's way out
of my reach.
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Anders Eriksson wrote
> On 2016-09-14 12:07, Phil Holmes wrote:
>> - Original Message - From: "Anders Eriksson"
>>
> lilypond@
>
>> To: "Knut Petersen"
> Knut_Petersen@
> ; "lilypond-user"
>>
> lilypond-user@
>
>> Sent: Sunday, September 11, 2016 10:55 AM
>> Subject: Re:
I was hoping to be able to change staff sizes within a score without the
bizarre kludge of creating an entirely new score everytime the staff size
changes. Many apologies for being unclear.
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Well, having staves of different sizes run in parallel is certainly helpful
in some cases. Thanks for showing me how to do that. In other cases, I want
to be able to, say, print an example of a scale in normal sized print,
followed by an arbitrary number of larger staves for students to draw their
If this is possible, it would be very nice to know how to do. When making
worksheets, I want to make the examples in regular sized staves and make the
lines for the student responses with larger staves. Sibelius is stuck with
one staff size throughout the whole document. As far as I know, Finale
I'm not sure it's due to a change between v2.19.46 and 47. For most of the
summer, I had been running an older development version and an older version
of Frescobaldi for a while, and they were running fine. I hadn't run
Lilypond in a few weeks, and in the meantime Windows 10 updated to the
Same problem here. I didn't save any compile times before the update for
comparison, but Lilypond just crawls now. I was compiling a one-page piece
last night, which used to go by in a flash, and now it takes a good 10
seconds.
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Just my opinion, but I think it is usually a good idea to use an original
source such as Purcell's mentioned in the original post, rather than rely on
a secondary source such as Dolmetsch.
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That looks great. Thanks so much!
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Did anybody ever come up with a way to draw the shake from Purcell in
Lilypond? I'm trying to typeset something from the book cited in the top
post, and my skills are not up to the task.
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Encountering this bug for the first time is a right of passage. It will
probably not be fixed in our lifetimes.
Congratulations, you are now a Lilyponder!
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Thanks, that's perfect.
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Is there a way to set the default location for fingering in the lower staff
of a grand staff to be below the staff rather than above? I realize that I
can write, e.g., "c_1" instead of "c-1" every time. However, after a few
years of using Lilypond, I have wasted so much time fixing my errors (both
I don't think consumers first looking at a name will go to a blog on the
internet to find out how to pronounce it. Dorico is going to be pronounced
like Dorito a lot in the beginning. At least everyone knows what a lily pond
is and how to say it. In any case, the name is probably not very
Hmm...not a fan of the name Dorico. It sounds a little too close to Dorito to
me. Does it come in nacho cheese and cool ranch?
If the quality of the output is better than Lilypond (and 349 pounds
sterling fall out of the sky into my lap), I might consider it. After all
those years of making
That is just such wonderful news for everyone. Thank you so much to the
students, mentors and everybody involved in organizing this.
>From a personal standpoint, being able to have slurs and ties cross voices
in all the piano music I engrave would increase my quality of life
significantly.
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Thanks for the solutions. I'm OK with an error message!
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I'm trying to make a snippet for students with intentional mistakes for them
to correct. I want the time signature to say 4/3, but for the music to
actually be in 3/4. Should I use "scaleDurations", and what should the ratio
be? Or is there a better way to do this?
\version "2.19.24"
\relative
Look out -- here come the urtext police!
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I downloaded the Henle library app on my iPad. It's pretty bare-bones,
especially from what I'm used to in forScore, but I'm sure over time they'll
add features over time. Very few scores are available. For example, for
piano, there are only the Beethoven and Mozart sonatas, Bach Well-Tempered,
This isn't meant to be sung by a singer. This is from a beginner's piano
method (I'm a piano teacher). The words are to give a sense of the stress in
the meter, to give the player an idea of the mood of the piece, and possibly
for the player to sing along. The slurs, though, are entirely for the
Yes, that was my first thought too. Those video tutorials are quite nice.
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It would be nice if this were just newbie question, but all of us old-bies
and have to deal with it all the time. It would be really nice if Lilypond
just combined the rests as it should.
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Avid firing the Sibelius development team is what sent me scouring the
internet in a panic to find a replacement, and to me finding Lilypond. I
can't thank Avid enough.
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Yes, exactly. Thank you!
I have run into another problem in the meantime: fermatas over barlines
appear at the end of lines, but the rehearsal marks appear at the beginning.
Do you know a way to force them back to the end of the previous line?
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I'm setting a piece that has fermatas over bar lines with the text lunga
printed above the fermata. Any ideas about how that can be achieved?
\version 2.19.18
{
c'1 | c' | \mark \markup { \musicglyph #scripts.ufermata }
}
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Thanks to everyone in the thread who has given code and tips. I agree that it
would be very nice if something were included in Lily herself to solve this.
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I just engraved a piece for which the standard solutions given in this thread
worked especially badly. There were many 8th notes alternating with 8th
rests (which should be merged by Lilypond, but can't be automatically), so
switching back and forth between a polyphonic structure and \oneVoice was
Thank you!
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The spacing between staves when cross staff beams are used is also a big
problem in Lilypond (it doesn't provide enough and then throws errors). In
general, if you are using cross staff beams, get used to having lots of
issues.
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Fantastic work! It's going to be difficult waiting to use these.
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It would be good to update to the latest version (2.18.2). Also, if you post
your file as a minimal example (make you file as short as possible) we can
help you better.
Thanks for posting. This board is a great resource to help you get started.
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Wonderful! Downloaded and printing now. I'm going to play through it on the
piano and follow along with a recording.
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As always, thank you for your work on Frescobaldi. It makes life so much
better for me. I think we are the same age; 43 has been good to me so far,
and I hope it is good to you too.
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I think you just have to remember to use \oneVoice or \stemNeutral when the
2nd voice isn't playing.
If the 2nd voice is coming and going frequently, you are much better off
using
{ \voiceOne
Music goes here
}
\new Voice {
{ \voiceTwo
Music goes here
}
}
I checked the 8va and 8vb sections in Music Notation by Gardner Read, and
8va is only to be used above the treble clef and 8vb below the bass, and no
woodwinds use the 8vb sign. He's obviously only one authority, but he's a
good one.
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Thanks so much, Nathan. I'm glad I'm not the only one who finds it tricky!
I'm not concerned with MIDI output at all, so your solution works perfectly.
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I'm typesetting the song La Flûte enchantée by Ravel. There's a bit in the
piano part with notes from both bass and treble clefs displayed
simultaneously (see jpgs). I thought I'd seen everything, but this has me
stumped. Can anybody help? Here's what I've got so far:
\version 2.16.2
global = {
In my experience, { } \\ {} will sometimes for for a short section with
multiple voices, but if there was a slur already under way before the voices
split or a slur that continues after the voices merge, it won't work. In
that case, { \voiceOne } \new Voice { \voiceTwo } \oneVoice works much
I've always used Phil's solution (manually placing one rest and using s for
the other), but, come to think of it, it would be nice for this to be done
automatically.
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Adding the additional space via markup worked. Is this an issue I should
create a bug tracker for?
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Here is the 28th bar of an etude by Rachmaninoff:
\version 2.16.2
global = {
\key g \minor
\time 4/4
}
goUp = { \change Staff = right \stemDown }
goDown = { \change Staff = left \stemUp }
right = \relative c'' {
\global
r32 as,( c fis c'8) \goDown d,,32( es fis \goUp g c es g, es)
Thanks for the reply. My scanner's broken, but there are two scans of the
Rachmaninoff prelude at IMSLP:
http://imslp.org/wiki/Etudes-tableaux,_Op.33_%28Rachmaninoff,_Sergei%29
The first edition at IMSLP lists the G minor prelude as the 8th prelude; the
second one lists it as the 7th prelude.
In
Thanks for the solutions. Mark -- that's the kind of solution I used the last
time this came up in a score, but this time I'd like to show which hand
Rachmaninoff wants the notes played with. Keith -- I do have a dynamic
context, so I'll try putting in some blank space that way.
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There's a nice article on the Lilypond blog about temporary polyphony:
http://lilypondblog.org/2013/07/voice-contexts-in-temporary-polyphonic-sections/
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I believe it was Couperin who distinguished between ties and slurs in his
manuscripts by using slightly different shapes for each. I don't have my
copy of L'art de toucher le clavecin nearby, but I believe the slurs had
more squared-off ends and ties had more rounded ends. Too bad Couperin's
Anything that runs on Windows will run on a Surface tablet (but not a Surface
RT tablet). They're really expensive, though.
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I'm typesetting Earl Wild's piano transcription of Rachmaninoff's In the
Silent Night in Lilypond for my own use. The original is set using Finale
from around 1990 (the copyright date). In bar 31, there's a B sharp in the
second voice in the right hand, and later in the bar, an octave B natural in
I'd like to join the effort, but I don't have the skills -- the last
programming I did was 12 years ago in college, and it was it C, not C++ (I
don't even know what the difference is). However, I'd be willing to make a
small financial contribution if someone could tell me where to send it --
this
As long as we're at it, how about fixing the bug where ties don't work with
enharmonic notes?
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That looks great!
Fitting dynamics and markups in piano music without the staves getting
ridiculously far apart is my biggest challenge in using Lilypond. It's
amazing the nooks and crannies hand engravers find to put markups.
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I saw that too. It's bolder and more engraved looking than the other
commercial music fonts, at least. I don't know what to think about the new
music font format.
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In this excerpt from a piece I'm typesetting, the first two arpeggios are
fine, but the third collides with the previous note in the right hand's
upper voice. Is there a way to avoid the collision?
\version 2.16.2
global = {
\key as \major
\time 6/8
}
rightOne = \relative c'' {
\global
Excellent! Thank you so much for all your work. Using Frescobaldi is always a
pleasure.
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I make lots of worksheets in which I need a time signature repeated for the
student's answer. I like the current behavior.
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I use
\override Staff.Clef #'stencil = ##f
\override Staff.StaffSymbol #'stencil = ##f
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I'm typesetting a piano score that is mostly in two staves, but occasionally
in three. I have filled the third staff with spacers rests when it's not
needed and used \RemoveEmptyStaves and Keep_alive_together_engraver to
hide it when its empty.
The problem is that the first line of the score uses
I'm making some rhythm exercises for my piano students with no staff lines
(which is the way it is usually done in piano methods). Everything looks
fine except for the half and whole rests which don't have the traditional
little extra lines above and below them to make them distinguishable. Can
Often, rather than just dynamics (pp) centered between staves, piano music
adds a modifier (pp dolce). If I try to add the modifier as a text markup
in a dynamic context, the text isn't centered or aligned with the other
dynamics. Is there a better way to do this?
\version 2.16.1
right =
I'm making theory tests for students, and I'm trying to print a blank staff
(except for a clef and bar lines) divided into two, three or four equal
measures in which students will draw scales, triads or key signatures. Below
each measure will be centered text telling the students what to draw. I
Ah ha, that does the trick! Thanks.
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I'll insert a scan of the Haydn ornament from the preface that Alfred
includes in its editions of Haydn keyboard works. It looks pretty good to
me.
http://lilypond.1069038.n5.nabble.com/file/n139974/Haydn_ornament.jpg
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,
Michael Rivers
michaeljriv...@gmail.com
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Sweet! Thank you so much for that code, and thank you to whoever wrote it.
Open source is amazing.
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It would be very nice if Roman numeral analysis were integrated with figured
bass in Lilypond. David's code works very well for chorale textures.
However, because durations aren't specified, if the left hand of a piano
part, for instance, has 16th note arpeggios but only one harmony, one needs
to
As far as I know, Lilypond doesn't support Roman numeral analysis. I can't
find it anywhere in the documentation, at least. Somebody please correct me
if I'm wrong, because I would love to be able to do it.
The snippet posted in the original post doesn't work for me. I don't think
\rN is a real
Use R1 instead of r1.
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Also, the Mutopia project (www.mutopiaproject.org/) hosts most of the WTC in
lilypond format. You're probably going to need to move that second voice
down to the bass clef at some point and then back. Taking a look at the
samples at Mutopia helped me quite a bit.
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begins with one
shape in the bottom staff and switches to another shape as the notes move to
the upper staff.) I apologize if this is in the manual, but I am unable to
track it down.
-- Michael Rivers
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Thank you David. I especially appreciate the example code.
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Thank you Daniel, Matthew and James. I'll give them all a try. Matthew's
method could save me time entering the notes too. In this type of music is
doesn't matter which hand plays the middle C -- I'd be happy to let
LillyPond make the decision.
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Most beginning children's piano music uses a format with a single-line melody
broken between the treble and bass clefs and lyrics written in between. I'm
assuming LilyPond doesn't have a way to automatically attach some lyrics to
the treble and some to the bass as needed, so I'm trying to do this
Thank you for all your work on Frescobaldi. I really like the automatic
formatting and .pdf preview. It saves me a lot of time.
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\override Staff.StaffSymbol #'stencil = ##f
That works perfectly. I don't even need to worry about the ledger lines
because it's all one one pitch on the staff -- purely a rhythm exercise. It
makes sense that stopping the staff entirely would make the bar lines
infinitely short; if I wanted a
I'm a relatively new LilyPond user, so I apologize if this is something I
should have found in the manual. I'm trying to use LilyPond to make
worksheets and theory tests, so I need to hide elements for students to fill
in themselves. I also need to notate rhythms without a staff. I know that
I know this topic changed from Sibelius going belly up to parallelization,
but I don't know where else to put it...
I'm a current Sibelius user who found Lilypond after panicking a little and
a doing quick web search for open source notation software. I don't know how
many other users may check
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