Don Gingrich | 20 Oct 03:47 2014

Anacrusis in multiple tunes on page

It seems clear to me that I am mis-formatting something.

What I am trying to do is is to put multiple tunes on a single page
as for a "set" of tunes for a dance. The problem that I'm having is
that many of these tunes start both the "A" part and the "B" part
with an anacrusis and end the part with a shorter measure to 
make the  number of beats work out.

Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.

I've tried just leaving them out, but the programmer in me does not
like the warning messages that result.

I've noticed that I can account for the missing beats with "s" and the
missing time, but this results in unnecessary whitespace and throws
the overall note spacing out.

Is there an alternative to "s" that would allow Lilypond to account for
the missing beats without adding space that I do not want?

More or less minimal example follows -- I've left in the directive blocks
on the off chance that there's something there or missing from there
that would influence the problem.


(Continue reading)

Gilberto Agostinho | 20 Oct 01:19 2014

\tweak and \markup variables

Hello LilyPonders,

I am having a problem creating a single variable that involves \tweak.
Basically, here is the problem:

This works fine:
myVariable = \markup{"foo bar"}
{ c'^\myVariable }

This works fine as well:
myVariable = \markup{"foo bar"}
{ c'-\tweak extra-offset #'(-3 . 1)^\myVariable }

But this does not work:
myVariable = \tweak extra-offset #'(-3 . 1)^\markup{"foo bar"}
{ c'-\myVariable }

Not even using two variables I could make it work (and I wouldn't want to
carry two variables over the whole score anyway):
myVariableOne = \tweak extra-offset #'(-3 . 1)}
myVariableTwo = \markup{"foo bar"}
{ c'-\myVariableOne^\myVariableTwo }

So how can I tweak the offset of a markup text inside a variable? Does
anyone have any suggestion how to tackle this problem?

As always, thanks a lot for any help,

(Continue reading)

user3871075 | 20 Oct 00:02 2014

problem with grace notes at beginning of measure in simultaneous music

As recommended in lilypond documentation, I separate "global" aspects of the music such as rehearsal marks, bar types, etc. into their own variable which I then typeset simultaneously with the actual notes.  However, when I do this, grace notes at the beginning of a measure sometimes appear to get assigned to the wrong measure.  For example:

\new Staff { <<
  \relative c'' {
    c1 |
    \grace b8 c1 |
    s1 \bar "||" |
    s1 |
>> }

I can fix it by adding a grace into the lower section of music so it matches the upper section, but that doesn't work well when I want to use the same "global" variable for multiple parts, not all of which have the grace note(s).  It seems like there should be a better way.  Any ideas / suggestions?


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Son_V | 19 Oct 20:22 2014

Sorry ... text under melismata

Hi, sorry for this question that I think is another humble one, but I've lost
a lot of time working on it;

I want to transcribe, for the amateur choir where I sing, this:


What I get is this one


The second "Zzz" should be under beat 2, and another "Zzz" should be at beat

Maybe because I've started going in a wrong way I wasn't able to correct the
wrong "direction". I've tried to make ( ... ) in this way: \( ... \) but not

What can I do? Sorry again, and thanks.

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MarcM | 19 Oct 05:22 2014

Unbound variable: define-public-toplevel

in 2.19, I am getting an error "Unbound variable: define-public-toplevel"
when i run the file """ in the enhancement request [*]
that seemed to work in 2.12. error: GUILE signaled an error for the expression
beginning here
 (if (not (defined? 'includeIfAbsent))
Unbound variable: define-public-toplevel


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Alicuota618 | 19 Oct 01:43 2014



Just wondering if nobody asked for that. Because I didnt found any
thread about it.

I need to assign line-Breaks only where I need them. Anywhere else
should never do line breaks. Unfortunately, lily breaks not only where
I put \Break but everywhere it needs and wants. Putting at each other
bar a \noBreak is a too heavy solution.

No clue how to do that...

Thanks in advance if somebody does.

Johan Vromans | 19 Oct 00:16 2014

Re: conditional include

MarcM <marc <at>> writes:

> your function checks for arguments passed on the command line. Is there a way
> to check variable like an IFDEF ?

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Mike Solomon | 18 Oct 10:15 2014

ties between enharmonic pitches

Hey all,

I recently stumbled across this old thread from 2002 about ties between enharmonic pitches:

I am typesetting a piece where the successive chords are:

<dis ais’ cisis fis bis> ~ % (D#m maj7 #15)
<e g d’ fis b>  %(Em9)

The above is pseudocode - the actual piece is across 5 staves and voices.

I have seen the suggestion to slur the cisis and the d, but something about that feels unsatisfactory.  However, if that is the most common way in real scores, I will do it.  What are current opinons on this topic? Meaning, what is considered the best way to show this and what is the most elegant way to do that in LilyPond?

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Knute Snortum | 18 Oct 01:50 2014

Indicate a broken chord should ring.

I have a piece of music I'm transcribing that's never been transcribed before, so I'm not sure how to notate it.

It's a broken chord where all the notes should ring for another two measures.  My two attempts are below:

\version "2.19.15"
\language "english"

\relative c''' {
  %% Method one
  \slurDown a,,=8 ( e''16 b g ds'8. ~ <e  ds b g a,>2 ) ~ | q1 ~ | q1 
  %% Method two
    { \voiceTwo   a,,1 ~                         |  a1 ~  | a1 | }
    { \voiceThree r8 e''4. ~               e2 ~  |  e1 ~  | e1 | }
    { \voiceTwo   s8 s16 b16 ~ b4 ~        b2 ~  |  b1 ~  | b1 | }
    { \voiceTwo   s4           g4 ~        g2 ~  |  g1 ~  | g1 | }
    { \voiceOne \tieDown
                  s4           s16 ds'8. ~ ds2 ~ | ds1 ~  | ds1 | }

With method one, it's very evident how to play the line, but only the a and the ds slurs/ties.  Ideally, all of the notes would have slurs/ties to the half note chord.

Method two is perhaps more literal, but it's hard to see how the line is played.

Is there a better way to indicate that the broken chord is held?  In piano music I would use a sustain pedal indicator, but this music might be played by a guitar.

Knute Snortum
(via Gmail)
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Abraham Lee | 17 Oct 23:49 2014

Opposite hand indicator

Greetings, All!

I just though I'd share a little solution I made up for piano notation when you want to indicate that a note or chord or whatever should be played by the opposite hand. It uses the "\finger" function and "\set fingerOrientations" override to place them in the right spot. There are two versions of each kind, with and without the text annotations "l.h." for "left hand" and "r.h." for "right hand". They should be easy to customize if you want to make it look different than I've done it or use text for another language other than English. 

This really could use a dedicated engraver, probably pulling much of the functionality from the FingeringEngraver, but this should work for most cases as it is. Enjoy!

Happy Engraving,
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Son_V | 17 Oct 22:11 2014

A solution I've invented for a SATB choir

Hi, I made a score for a SATB choir; I had two choices: to make it in a
single page, but really crowded ... or to make it in two pages. I choose
another way; I divided it in SA and TB voices. I made the Soprano+alto part
whit single staff and grouped the TB voices WHITHOUT words; and for the
Tenor+Bass their single staff and grouped the SA voices WHITHOUT words. So I
got a two page score, but with a single page of music for S+A and T+B. I
would like to know what do you think of this "trick". Thanks.

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