This blog has moved to the new domain http://lilypondblog.org. You can find this article at http://lilypondblog.org/2013/06/printmusic-hmm/
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Scores of Beauty 
Sometimes with string scordatura the notated and sounding pitch are not the same. So in the example a guitarist seeing the E will pluck the differently tuned E string sounding a D. I believe this is common practice for harpists at least. (For other strings I believe the sounding pitch is usually notated.) My point being that the written low E was most likely intentional.
The other mistakes I see in the finale version:
– The grace slur in the second measure.
– Measure 7 is missing a sixteenth note. I’m thinking beat 3 should be more like beat 3 in measures 4 and 8.
– The slur somewhat obscures ledgers lines in measure 7. This may just be the low resolution rendering causing the problem. I’m not sure how much better lilypond fares here. Lilypond’s weightier ledger lines probably help.
Indeed, this may be scordatura – I’ve edited the post. However, I don’t think that using scordatura without explicitely mentioning it would be a good notation practice. After all, some guitar music with alternate tunings is notated without scordatura (I have a few drop D pieces with explicitely written pitch), so there is room for confusion if you don’t state things clearly – does Elaine Gould say something about this?
As for grace notes’ slur, I think that it should go above the notes in this case. Unfortunately, LilyPond doesn’t do this by default as well.
you can use \clef “moderntab” to use the same style as original example
@Jay: Harp notes are notated as they sound. When a harpist wants to play a C-sharp she kicks the C pedal down and plugs the C string. As long as she plays C-sharp all is fine. The next C or C-flat requires a kick up of the pedal. Sometimes she uses enharmonic changes.
Why are you complaining just about the first measure? Measures #5,6, and 7 tell you to play the 108th fret. What a great guitar with so many frets!
In newer music it is common that you give two staffs for one instrument in this case. One written as it sounds and one written for the hand/muscles.
And both on the same sheet of paper. The reason is that musicians switch between the two. In slower parts they like to use the “written as it sounds” staff and when it becomes mechanical they like to switch to the other part.
From my experience and from that of several of university composing-teachers there is no middle-way.
Could you post the LilyPond syntax you used? By default Denemo gives different string choices…
Unfortunately WordPress does something really strange to the code when i paste it into a comment (some parts are just deleted) 😦
But as for fingering positions, you have to use these overrides in the upper voice:
\set TabVoice.minimumFret = #7
\set TabVoice.restrainOpenStrings = ##t
Thanks – I’ve been studying your clef stuff there too – I guess because guitarist’s don’t expect to be told they are notating in the wrong octave 🙂
I’ve put these bits of syntax into Denemo now and made a little video showing creating this bit of tablature:
Looks nice, but don’t forget about setting string tuning to drop d for correct midi pitches.
Thanks – yes, there is some other stuff about staff spacing which I can raid this for – I guess that you specially put that in to improve (or match) the appearance (rather than just getting it by the sort of lazy cut-and-paste I resort to).
Janek, have you tried putting the code between sourcecode tags?
As explained here: http://stackoverflow.com/questions/13247984/how-to-insert-code-into-wordpress
I’ve tried it (among some other options) but it didn’t quite work – for example, the indentation was eaten. I’ve sent you an invitation, maybe you could try yourself with more luck than me? 😉
Ok, i’ve got it to work. I had to paste inside the Text View instead of Visual View.