Re: unfamiliar articulation mark
I would guess it is a tr for trill, but that is just a guess. Joram Am 16.05.2015 um 04:50 schrieb Stan Sanderson: > I’m hoping someone will recognize the mark above the sharped note in the > attached screen shot. It is from a capriccio for keyboard by J. J. Froberger > and > appears many times. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SATB polyphonic lyrics problems
Could you attach a text-only version of your score, please? -- Phil Holmes - Original Message - From: Alan Struthers To: lilypond-user@gnu.org Sent: Saturday, May 16, 2015 12:07 AM Subject: SATB polyphonic lyrics problems I am brand new to Lilypond. I have tried and tried to figure out how to code SATB four staves of polyphony with different notes, durations and lyrics, but while I am close, some of the lyrics fall to the very bottom of the score and will not stick to the staff that I want them to. Sorry if the example is long, but I must learn : 1) how to code what I want 2) where to put the commands properly The lyrics in CAPITALS are for voice two (i.e., soprano 2, alto 2 ) They are aligned correctly, meaning they are directly under the proper notes, but not attached to the correct staff. If someone could correct my code in CAPITALS so I can see exactly what you have done, I will be able to engrave my music. thanks. al -- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
afterGrace on Completion_heads_engraver layout
Hi,
I'm trying use \afterGrace on layout consists Completion_heads_engraver as:
\version "2.18.2"
\layout {
\context {
\Voice
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
}
}
{
c'4 \afterGrace a4 b16
}
which issues attached test.pdf.
The a4 also appears in the grace.
The image I expect is the other attachment expected.pdf yielded
with \context brace includes only \Voice.
How can an image looks same be got without modifying the \context
brace above?
Thanks
Venus' Wink
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test.pdf
Description: Adobe PDF document
expected.pdf
Description: Adobe PDF document
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Re: afterGrace on Completion_heads_engraver layout
2015-05-16 11:58 GMT+02:00 Venus' Wink :
> Hi,
>
> I'm trying use \afterGrace on layout consists Completion_heads_engraver as:
>
> \version "2.18.2"
> \layout {
> \context {
> \Voice
> \remove "Note_heads_engraver"
> \consists "Completion_heads_engraver"
> }
> }
> {
> c'4 \afterGrace a4 b16
> }
>
> which issues attached test.pdf.
> The a4 also appears in the grace.
>
> The image I expect is the other attachment expected.pdf yielded
> with \context brace includes only \Voice.
>
> How can an image looks same be got without modifying the \context
> brace above?
>
> Thanks
> Venus' Wink
Hi,
LilyPond's afterGrace-function uses a second Voice to get the desired output.
Compile the following unchanged, you may be surprised:
{ \afterGrace a4 b16 }
Though, the second Voice isn't stated explicitely. Which confuses the
Completion_heads_engraver.
Maybe a bug, please report it:
http://www.lilypond.org/website/bug-reports.html
The following works:
\version "2.18.2"
\layout {
\context {
\Voice
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
}
}
\new Voice { c'4 \afterGrace a4 \new Voice b16 }
HTH,
Harm
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Re: opinions?
Dear Stephen, Il 15/05/2015 22:18, Stephen MacNeil ha scritto: [...] shorter would be nice however, minimum-length has no effect since it's not maximum. well, in a undirect way it actually has: reducing minimum-lenght controls indeed the maximum extension of the slur. To avoid collisions between appoggiatura/acciaccatura slurs and stems I set slur.minimum-lenght to a very low value - 0.5, or even 0.0. Luca -- ZE-Light e ZE-Pro: servizi zimbra per caselle con dominio email.it, per tutti i dettagli Clicca qui http://posta.email.it/caselle-di-posta-z-email-it/?utm_campaign=email_Zimbra_102014=main_footer/f Sponsor: Soluzioni di email hosting per tutte le esigenze: dalle caselle gratuite a quelle professionali su piattaforma Zimbra, da quelle su proprio dominio a quelle certificate PEC. Confronta le soluzioni Clicca qui: http://adv.email.it/cgi-bin/foclick.cgi?mid=13326&d=16-5 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: afterGrace on Completion_heads_engraver layout
> -Original Message-
> From: thomasmorle...@gmail.com
> Sent: Sat, 16 May 2015 12:40:02 +0200
> To: venuswi...@inbox.com
> Subject: Re: afterGrace on Completion_heads_engraver layout
>
> 2015-05-16 11:58 GMT+02:00 Venus' Wink :
>> Hi,
>>
>> I'm trying use \afterGrace on layout consists Completion_heads_engraver
>> as:
>>
>> \version "2.18.2"
>> \layout {
>> \context {
>> \Voice
>> \remove "Note_heads_engraver"
>> \consists "Completion_heads_engraver"
>> }
>> }
>> {
>> c'4 \afterGrace a4 b16
>> }
>>
>> which issues attached test.pdf.
>> The a4 also appears in the grace.
>>
>> The image I expect is the other attachment expected.pdf yielded
>> with \context brace includes only \Voice.
>>
>> How can an image looks same be got without modifying the \context
>> brace above?
>>
>> Thanks
>> Venus' Wink
>
>
> Hi,
>
> LilyPond's afterGrace-function uses a second Voice to get the desired
> output.
>
> Compile the following unchanged, you may be surprised:
>
> { \afterGrace a4 b16 }
>
> Though, the second Voice isn't stated explicitely. Which confuses the
> Completion_heads_engraver.
> Maybe a bug, please report it:
> http://www.lilypond.org/website/bug-reports.html
>
> The following works:
>
> \version "2.18.2"
>
> \layout {
> \context {
> \Voice
>\remove "Note_heads_engraver"
>\consists "Completion_heads_engraver"
> }
> }
>
> \new Voice { c'4 \afterGrace a4 \new Voice b16 }
>
>
> HTH,
> Harm
Hi Thomas,
I has been sure your solution does work expectedly.
Thanks a lot.
> Compile the following unchanged, you may be surprised:
> { \afterGrace a4 b16 }
Yes, I had been surprised.
That's why I left c'4 in the first code.
But I am more suprised that my expectation is realized.
I will report this issue.
Thanks again
Venus' Wink
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Mensural notation: 2 questions
Hello all, I suspect I'm just being a bit thick...typesetting some mensural notation, and having an issue with the mensural signs/time sigs. It looks like the definitions of these in terms of modern time signatures are in half values; e.g., "Circle" maps on to 3/2, when it should map on to 3/1. My second issue is that lilypond initially couldn't seem to find any of the various mensural clefs that have a number on the end. I managed to make it work by enclosing the clef name in double quotes, but am not sure why that worked. Cheers, Frauke ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
My understanding is that the Mensural time signatures are simply mapped to a convenient, similar modern signature. Thus what we now refer to a "common time" (4/4) maps to a broken circle, which it resembles. Since there are no bar lines in mensural music, the actual time signature is pretty much irrelevant when setting music. FWIW, Apel says that ancient "circle" time (tempus perfectum) maps to modern 3/4 time. Under 1.1.3, "Clef", the Notation Reference tells us that "Clef names containing non-alphabetic characters must be enclosed in quotes". -- Phil Holmes - Original Message - From: Frauke Jurgensen To: LilyPond User Group Sent: Saturday, May 16, 2015 12:45 PM Subject: Mensural notation: 2 questions Hello all, I suspect I'm just being a bit thick...typesetting some mensural notation, and having an issue with the mensural signs/time sigs. It looks like the definitions of these in terms of modern time signatures are in half values; e.g., "Circle" maps on to 3/2, when it should map on to 3/1. My second issue is that lilypond initially couldn't seem to find any of the various mensural clefs that have a number on the end. I managed to make it work by enclosing the clef name in double quotes, but am not sure why that worked. Cheers, Frauke ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unfamiliar articulation mark
Johan- I found a midi of the piece (Capriccio IX) in which a trill is played at the mark in question. The stylized characters looked more like a “tu” than “tr” to me. Thanks for your excellent guess. Stan > On May 16, 2015, at 3:00 AM, Noeck wrote: > > I would guess it is a tr for trill, but that is just a guess. > > Joram > > Am 16.05.2015 um 04:50 schrieb Stan Sanderson: >> I’m hoping someone will recognize the mark above the sharped note in the >> attached screen shot. It is from a capriccio for keyboard by J. J. Froberger >> and >> appears many times. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: afterGrace on Completion_heads_engraver layout
2015-05-16 13:58 GMT+02:00 Venus' Wink : > Hi, > > I've found this is a known bug: > > http://code.google.com/p/lilypond/issues/detail?id=2769 > > Thanks > Venus' Wink I've updated issue 2769 http://code.google.com/p/lilypond/issues/detail?id=2769 with the workaround Thanks, Harm P.S. please always reply all ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unfamiliar articulation mark
Hi Stan, there were quite funny ways to write an r in the past. For instance the third letter in the second row is an r: https://de.wikipedia.org/wiki/Datei:S%C3%BCtterlin-Ausgangsschrift.jpg It also has this “u-shape”. Joram Am 16.05.2015 um 14:01 schrieb Stan Sanderson: > Johan- > > I found a midi of the piece (Capriccio IX) in which a trill is played at the > mark in question. The stylized characters looked more like a “tu” than “tr” > to me. Thanks for your excellent guess. > > Stan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SATB polyphonic lyrics problems
At 10:17 16/05/2015 +0100, Phil Holmes wrote:
- Original Message -
From: Alan Struthers
To: lilypond-user@gnu.org
Sent: Saturday, May 16, 2015 12:07 AM
Subject: SATB polyphonic lyrics problems
I am brand new to Lilypond. I have tried and tried to figure out
how to code SATB four staves of polyphony with different notes,
durations and lyrics, but while I am close, some of the lyrics fall
to the very bottom of the score and will not stick to the staff
that I want them to.
Sorry if the example is long, but I must learn :
1) how to code what I want
2) where to put the commands properly
The lyrics in CAPITALS are for voice two (i.e., soprano 2, alto 2 )
They are aligned correctly, meaning they are directly under the
proper notes, but not attached to the correct staff.
If someone could correct my code in CAPITALS so I can see exactly
what you have done, I will be able to engrave my music.
Could you attach a text-only version of your score, please?
I'm not he, but here it is.
Brian Barker \version "2.18.2"
\language "english"
\paper {
#(set-paper-size "letter")
}
global = {
\key d \major
\numericTimeSignature
\time 3/4
\autoBeamOff
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
\oneVoice
{
c4 g8 c, g'
}
<<
{ \voiceOne
c
b2.
}
\new Voice
{ \voiceTwo
c8
g4 f e
}
% lyrics for soprano 2
\new Lyrics \lyricmode
{ AL8 -- LE4 -- LU -- IA, }
>>
\oneVoice
bf'2.
a2.
}
verseSopranoVoice = \lyricmode {
% Lyrics follow here.
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
altoVoice = \relative c' {
\global
\dynamicUp
< c g' >2.
d2.
<<
{
\voiceOne
f8[ e] d[( e] f4)
f4( c) f
}
\new Voice
{
\voiceTwo
d2.
c2.
}
% lyrics for alto 2
\new Lyrics \lyricmode
{ LU -- IA, }
>>
}
verseAltoVoice = \lyricmode {
AL -- LE --
Al -- le -- lu -- ia,
}
tenorVoice = \relative c' {
\global
\dynamicUp
% Music follows here.
< e, g >2.
< d g >2.
< f bf >2.
< f c' >2.
}
verseTenorVoice = \lyricmode {
Al -- le -- lu -- ia,
}
bassVoice = \relative c {
\global
\dynamicUp
c2. g
< bf d >2.
< f' f, >2.
}
verseBassVoice = \lyricmode {
Al -- le -- lu -- ia,
}
sopranoVoicePart = \new Staff \with {
instrumentName = "Soprano"
midiInstrument = "choir aahs"
} { \sopranoVoice }
\addlyrics { \verseSopranoVoice }
altoVoicePart = \new Staff \with {
instrumentName = "Alto"
midiInstrument = "choir aahs"
} { \altoVoice }
\addlyrics { \verseAltoVoice }
tenorVoicePart = \new Staff \with {
instrumentName = "Tenor"
midiInstrument = "choir aahs"
} { \clef "treble_8" \tenorVoice }
\addlyrics { \verseTenorVoice }
bassVoicePart = \new Staff \with {
instrumentName = "Bass"
midiInstrument = "acoustic grand"
} { \clef bass \bassVoice }
\addlyrics { \verseBassVoice }
\score {
<<
\sopranoVoicePart
\altoVoicePart
\tenorVoicePart
\bassVoicePart
>>
\layout { }
\midi {
\tempo 4 = 72
}
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Re: SATB polyphonic lyrics problems
I've now been sent a copy of the lilypond code in text format: please use this in any future questions. Lilypond does not handle temporary voices and lyrics terribly well. I would suggest 2 potential solutions: a) use explicit voices for all your polyphonal parts, with spacer rests where they do not sing, or b) look at the use of NullVoice in the Notation Reference. HTH. -- Phil Holmes - Original Message - From: Alan Struthers To: lilypond-user@gnu.org Sent: Saturday, May 16, 2015 12:07 AM Subject: SATB polyphonic lyrics problems I am brand new to Lilypond. I have tried and tried to figure out how to code SATB four staves of polyphony with different notes, durations and lyrics, but while I am close, some of the lyrics fall to the very bottom of the score and will not stick to the staff that I want them to. Sorry if the example is long, but I must learn : 1) how to code what I want 2) where to put the commands properly The lyrics in CAPITALS are for voice two (i.e., soprano 2, alto 2 ) They are aligned correctly, meaning they are directly under the proper notes, but not attached to the correct staff. If someone could correct my code in CAPITALS so I can see exactly what you have done, I will be able to engrave my music. thanks. al ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Yes, some decades ago (i.e. when Apel was writing), it was common to transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for Circle); now, 3/2 is a more common transcription level, and most specialist performers prefer to read either from original note values (if transcribed), or from original notation, if the manuscript isn't filled with errors like the examples I'm currently dealing with. I'm working on a bigger project that may involve generating multiple versions in different types of notation from the same source file; from that point of view, it would be more convenient if the mensural sign was more closely attached to the meaning. In the meantime, at least I can get the symbol, so thanks for that! Thanks for the point about the clefs! Now I know why it works. On Sat, May 16, 2015 at 1:00 PM, Phil Holmes wrote: > My understanding is that the Mensural time signatures are simply mapped to > a convenient, similar modern signature. Thus what we now refer to a > "common time" (4/4) maps to a broken circle, which it resembles. Since > there are no bar lines in mensural music, the actual time signature is > pretty much irrelevant when setting music. FWIW, Apel says that ancient > "circle" time (tempus perfectum) maps to modern 3/4 time. > > Under 1.1.3, "Clef", the Notation Reference tells us that "Clef names > containing non-alphabetic characters must be enclosed in quotes". > > -- > Phil Holmes > > > - Original Message - From: Frauke Jurgensen > To: LilyPond User Group > Sent: Saturday, May 16, 2015 12:45 PM > Subject: Mensural notation: 2 questions > > > > Hello all, > > > I suspect I'm just being a bit thick...typesetting some mensural notation, > and having an issue with the mensural signs/time sigs. It looks like the > definitions of these in terms of modern time signatures are in half values; > e.g., "Circle" maps on to 3/2, when it should map on to 3/1. > > > My second issue is that lilypond initially couldn't seem to find any of > the various mensural clefs that have a number on the end. I managed to make > it work by enclosing the clef name in double quotes, but am not sure why > that worked. > > > Cheers, > > Frauke > > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
I've been doing something similar with madrigals from around 1590. You will likely find tags useful, to identify where you need to use different notation for modern and ancient music. If you can't see how this works, please let me know: I don't have time right now to give examples. I also have a function kindly created by David Kastrup that allows a rest to be placed on a non-standard staff line in mensural music, but the normal staff line in modern. Let me know if you're interested. -- Phil Holmes - Original Message - From: Frauke Jurgensen To: Phil Holmes Cc: LilyPond User Group Sent: Saturday, May 16, 2015 3:38 PM Subject: Re: Mensural notation: 2 questions Yes, some decades ago (i.e. when Apel was writing), it was common to transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for Circle); now, 3/2 is a more common transcription level, and most specialist performers prefer to read either from original note values (if transcribed), or from original notation, if the manuscript isn't filled with errors like the examples I'm currently dealing with. I'm working on a bigger project that may involve generating multiple versions in different types of notation from the same source file; from that point of view, it would be more convenient if the mensural sign was more closely attached to the meaning. In the meantime, at least I can get the symbol, so thanks for that! Thanks for the point about the clefs! Now I know why it works. On Sat, May 16, 2015 at 1:00 PM, Phil Holmes wrote: My understanding is that the Mensural time signatures are simply mapped to a convenient, similar modern signature. Thus what we now refer to a "common time" (4/4) maps to a broken circle, which it resembles. Since there are no bar lines in mensural music, the actual time signature is pretty much irrelevant when setting music. FWIW, Apel says that ancient "circle" time (tempus perfectum) maps to modern 3/4 time. Under 1.1.3, "Clef", the Notation Reference tells us that "Clef names containing non-alphabetic characters must be enclosed in quotes". -- Phil Holmes - Original Message - From: Frauke Jurgensen To: LilyPond User Group Sent: Saturday, May 16, 2015 12:45 PM Subject: Mensural notation: 2 questions Hello all, I suspect I'm just being a bit thick...typesetting some mensural notation, and having an issue with the mensural signs/time sigs. It looks like the definitions of these in terms of modern time signatures are in half values; e.g., "Circle" maps on to 3/2, when it should map on to 3/1. My second issue is that lilypond initially couldn't seem to find any of the various mensural clefs that have a number on the end. I managed to make it work by enclosing the clef name in double quotes, but am not sure why that worked. Cheers, Frauke ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Am 16.05.2015 um 17:20 schrieb Phil Holmes: I've been doing something similar with madrigals from around 1590. You will likely find tags useful, to identify where you need to use different notation for modern and ancient music. If you can't see how this works, please let me know: I don't have time right now to give examples. I also have a function kindly created by David Kastrup that allows a rest to be placed on a non-standard staff line in mensural music, but the normal staff line in modern. Let me know if you're interested. I am; is this in the LSR? Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Am 16.05.2015 um 16:38 schrieb Frauke Jurgensen: Yes, some decades ago (i.e. when Apel was writing), it was common to transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for Circle); now, 3/2 is a more common transcription level, and most specialist performers prefer to read either from original note values (if transcribed), or from original notation, if the manuscript isn't filled with errors like the examples I'm currently dealing with. I'm working on a bigger project that may involve generating multiple versions in different types of notation from the same source file; from that point of view, it would be more convenient if the mensural sign was more closely attached to the meaning. In case you are interested in barlines – which after all is authentic for ‘partitur’ scores – you might want to use \scaleDurations to get the right combination of mensural time signature and printed note values. HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Move bass note in a slash chord symbol?
2015-05-16 3:51 GMT+02:00 Thomas Morley :
> 2015-05-16 3:14 GMT+02:00 Peter Crighton :
> > Hi all,
> >
> > I have this rather long chord name that is taking too much horizontal
> space
> > in a sheet I’m working on. How can I move the “/F” part beneath the rest
> of
> > the chord like in the attached mockup? Ideally I would also like to
> further
> > tweak the slash position individually, as it now appears too far down to
> me.
> > I would rather have it vertically center-aligned with the F.
> >
> >
> > \version "2.19.15"
> >
> > \chords <<
> > bes:7sus4/f
> >>>
>
>
>
> My patch for
> https://code.google.com/p/lilypond/issues/detail?id=4344
> isn't finished.
> So you need to do it manually:
>
> \chords {
> \override ChordName.text =
> \markup { "B" \hspace #0.094725
> \smaller
> \raise #0.3 \musicglyph #"accidentals.flat"
> \override #'(baseline-skip . 1.5)
> \column {
>\super
>\line { "7" \hspace #0.5 "sus" "4" }
>\line { "/" "F" }
> }
> }
>
> bes:7sus4/f
> }
>
>
> Not very nice :(
But it works, and I only need it in three or four places, so thanks a lot!
--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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lilypond, frescobaldi, and Fedora 22
Hi,
Since the Fedora 22 (beta) package of LilyPond doesn't work I decided to
remove ("sudo dnf remove lilypond") lilypond from my system for now and
downloaded and installed the Linux installer version from the LilyPond
website instead. This one does work because it includes older and
compatible Ghostscript components.
In Fedora 22 the "yum" command has been replaced by "dnf".
Unfortately "dnf remove remove lilypond" automatically also removes the
"python-ly" and "frescobaldi" packages. And if I do "dnf install
frescobaldi" the Fedora lilypond package is automatically installed.
Both I don't want. I want to use the lilypond installer from the Lilypond
website, and I want to install frescobaldi and python-ly from the Fedora
22 repository.
Any suggestions from Fedora 22 + Lilypond users here?
--
MT
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Re: Mensural notation: 2 questions
Frauke: > I suspect I'm just being a bit thick...typesetting some mensural notation, Nice to meet another person like interested! > and having an issue with the mensural signs/time sigs. It looks like the > definitions of these in terms of modern time signatures are in half values; > e.g., "Circle" maps on to 3/2, when it should map on to 3/1. Yes, that is the usual "we want quarter notes" mindset. Use something like: % for the shown mensuration symbol: \set Staff.timeSignatureFraction = #'(3 . 2) % for the actual "bar" length: \time 3/1 > My second issue is that lilypond initially couldn't seem to find any of the > various mensural clefs that have a number on the end. ... As in mensuration sign + proportion, don't know to handle that. Perhaps something like: \set Staff.timeSignatureFraction = #'(3 . 2) \time 3/1 % some magic things to make two time signs to be shown \once\override Staff.TimeSignature #'style = #'single-digit \time 2/1 Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond, frescobaldi, and Fedora 22
I don't know about F22 and dfn, but pre-F22 rpm and yum had options to prevent following dependencies. Alternativey, you can make a dummy rpm package that provides the lilypond dependency and install that. Then you can add python-ly and frescobaldi. -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: opinions?
Thanks Luca I will give it a try! Stephen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Parallel music expressions on 1 stave with different notehead sizes?
How in Lilypond can I engrave two music expressions, \soprano and \alto, in
parallel on one stave in such a way that:
1. while they have the same rhythm, the notes share stems and beams
2. while they have the same rest-sequence, only one rest-sequence is engraved
3. the notes of \soprano are engraved in the normal size, and those of \alto
are engraved \tiny
I find that
<< \soprano \\ { \tiny \alto } >> shares neither stems, beams nor rests.
<< \soprano { \tiny \alto } >> engraves all the notes \tiny.
\partcombine \soprano { \tiny \alto } engraves all the notes \tiny.
%%% example starts %%%
\version "2.18"
\include "english.ly"
soprano = { g'8 a' b'4 e''8 f'' g''4 }
alto = { e'8 f' g'4 c''8 d'' e''4 }
\score
{
\new Staff
<<{ \soprano }
{ \tiny
\alto
}
>>
\layout { }
} % score
%%% example ends %%%
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Re: Mensural notation: 2 questions
Thanks, I will look into that! I'm also interested in the rest placement function. On Sat, May 16, 2015 at 4:20 PM, Phil Holmes wrote: > I've been doing something similar with madrigals from around 1590. You > will likely find tags useful, to identify where you need to use different > notation for modern and ancient music. If you can't see how this works, > please let me know: I don't have time right now to give examples. > > I also have a function kindly created by David Kastrup that allows a rest > to be placed on a non-standard staff line in mensural music, but the normal > staff line in modern. Let me know if you're interested. > > -- > Phil Holmes > > > - Original Message - From: Frauke Jurgensen > To: Phil Holmes > Cc: LilyPond User Group > Sent: Saturday, May 16, 2015 3:38 PM > Subject: Re: Mensural notation: 2 questions > > > > Yes, some decades ago (i.e. when Apel was writing), it was common to > transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for > Circle); now, 3/2 is a more common transcription level, and most specialist > performers prefer to read either from original note values (if > transcribed), or from original notation, if the manuscript isn't filled > with errors like the examples I'm currently dealing with. I'm working on a > bigger project that may involve generating multiple versions in different > types of notation from the same source file; from that point of view, it > would be more convenient if the mensural sign was more closely attached to > the meaning. In the meantime, at least I can get the symbol, so thanks for > that! > > > Thanks for the point about the clefs! Now I know why it works. > > > > On Sat, May 16, 2015 at 1:00 PM, Phil Holmes wrote: > > My understanding is that the Mensural time signatures are simply mapped to > a convenient, similar modern signature. Thus what we now refer to a > "common time" (4/4) maps to a broken circle, which it resembles. Since > there are no bar lines in mensural music, the actual time signature is > pretty much irrelevant when setting music. FWIW, Apel says that ancient > "circle" time (tempus perfectum) maps to modern 3/4 time. > > Under 1.1.3, "Clef", the Notation Reference tells us that "Clef names > containing non-alphabetic characters must be enclosed in quotes". > > -- > Phil Holmes > > > - Original Message - From: Frauke Jurgensen > To: LilyPond User Group > Sent: Saturday, May 16, 2015 12:45 PM > Subject: Mensural notation: 2 questions > > > > Hello all, > > > I suspect I'm just being a bit thick...typesetting some mensural notation, > and having an issue with the mensural signs/time sigs. It looks like the > definitions of these in terms of modern time signatures are in half values; > e.g., "Circle" maps on to 3/2, when it should map on to 3/1. > > > My second issue is that lilypond initially couldn't seem to find any of > the various mensural clefs that have a number on the end. I managed to make > it work by enclosing the clef name in double quotes, but am not sure why > that worked. > > > Cheers, > > Frauke > > > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Thank you, that first thing worked perfectly. At the moment, I still have the parts in score (to check they're all at least the same length, which is a feature sadly missing in some of the manuscripts I'm dealing with). I'm bullying the ligatures into submission (such as when the second semibreve of a COP needs to be doubled to complete the perfection) using, e.g., \[ a1 b1*2/1 \] . This appears to work for the output I need just now, but I haven't yet considered the implications, should I wish to return to modern notation (at 1:1 note values). . On Sat, May 16, 2015 at 4:42 PM, wrote: > Frauke: > > I suspect I'm just being a bit thick...typesetting some mensural > notation, > > Nice to meet another person like interested! > > > and having an issue with the mensural signs/time sigs. It looks like the > > definitions of these in terms of modern time signatures are in half > values; > > e.g., "Circle" maps on to 3/2, when it should map on to 3/1. > > Yes, that is the usual "we want quarter notes" mindset. > Use something like: > > % for the shown mensuration symbol: > \set Staff.timeSignatureFraction = #'(3 . 2) > > % for the actual "bar" length: > \time 3/1 > > > My second issue is that lilypond initially couldn't seem to find any of > the > > various mensural clefs that have a number on the end. > ... > > As in mensuration sign + proportion, don't know to handle that. > Perhaps something like: > > \set Staff.timeSignatureFraction = #'(3 . 2) > \time 3/1 > % some magic things to make two time signs to be shown > \once\override Staff.TimeSignature #'style = #'single-digit > \time 2/1 > > Regards, > /Karl Hammar > > --- > Aspö Data > Lilla Aspö 148 > S-742 94 Östhammar > Sweden > +46 173 140 57 > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Ah, thanks! That makes perfect sense. If I understand correctly, it would, however, mean inputting everything in halved note values? That might get messy, once ligatures are involved... On Sat, May 16, 2015 at 4:34 PM, Simon Albrecht wrote: > Am 16.05.2015 um 16:38 schrieb Frauke Jurgensen: > >> Yes, some decades ago (i.e. when Apel was writing), it was common to >> transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for >> Circle); now, 3/2 is a more common transcription level, and most specialist >> performers prefer to read either from original note values (if >> transcribed), or from original notation, if the manuscript isn't filled >> with errors like the examples I'm currently dealing with. I'm working on a >> bigger project that may involve generating multiple versions in different >> types of notation from the same source file; from that point of view, it >> would be more convenient if the mensural sign was more closely attached to >> the meaning. >> > In case you are interested in barlines – which after all is authentic for > ‘partitur’ scores – you might want to use \scaleDurations to get the right > combination of mensural time signature and printed note values. > > HTH, Simon > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond, frescobaldi, and Fedora 22
Il giorno sab 16 mag 2015 alle 17:40, Martin Tarenskeen ha scritto: In Fedora 22 the "yum" command has been replaced by "dnf". Unfortately "dnf remove remove lilypond" automatically also removes the "python-ly" and "frescobaldi" packages. And if I do "dnf install frescobaldi" the Fedora lilypond package is automatically installed. Both I don't want. I want to use the lilypond installer from the Lilypond website, and I want to install frescobaldi and python-ly from the Fedora 22 repository. Why don't you leave lilypond package installed (even if it doesn't work) and set the lilypond downloaded from the website as default in Frescobaldi? (plus if you place it in a path with higher priority it will be the default also on the command line) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Ottavation text too long for next line
I have a piece where I need a fairly long ottavation text that goes from
one line to the next (it says that the ottavation applies to the right hand
only). The problem is that there is only one measure on the second line
and the text doesn't fit when it's repeated. One solution is to set \break
so that the ottavation is all on one line but this sometimes produces
stretched or crowded measures. Is there another solution?
\version "2.19.20"
\language "english"
octaveUp = {
\set Staff.ottavation = #"8va pour la main droite seulement"
\once \override Staff.OttavaBracket.direction = #UP
\set Voice.middleCPosition = #(- 6 5) % c''
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
<<
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 16 { c4 d e f }
}
>>
}
Knute Snortum
(via Gmail)
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Re: Mensural notation: 2 questions
[about \scaleDurations] > Ah, thanks! That makes perfect sense. If I understand correctly, it would, > however, mean inputting everything in halved note values? Have a look at: http://www.lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-duration Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Ottavation text too long for next line
Knute,
When I eliminated the indent ( \layout {\indent = #0} ), all of it fits on the
first line.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Knute
Snortum
Sent: Saturday, May 16, 2015 10:14 AM
To: lilypond-user@gnu.org
Subject: Ottavation text too long for next line
I have a piece where I need a fairly long ottavation text that goes from one
line to the next (it says that the ottavation applies to the right hand only).
The problem is that there is only one measure on the second line and the text
doesn't fit when it's repeated. One solution is to set \break so that the
ottavation is all on one line but this sometimes produces stretched or crowded
measures. Is there another solution?
\version "2.19.20"
\language "english"
octaveUp = {
\set Staff.ottavation = #"8va pour la main droite seulement"
\once \override Staff.OttavaBracket.direction = #UP
\set Voice.middleCPosition = #(- 6 5) % c''
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
<<
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 16 { c4 d e f }
}
>>
}
Knute Snortum
(via Gmail)
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Changing staff
Hello, I would like to know if is possible to reproduce the "Changing staff" example (Chapter 2.2.1 Common notation for keyboards of Lilypond guide) using: - a single file "left.ly" for the Left-Hand - a single file "right.ly" for the Right-Hand - a file "general.ly" to generate the pdf output file. (sorry for my english) Thank you in advance to all for the answers. Regards Marco B. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
On Sat, 2015-05-16 at 15:38 +0100, Frauke Jurgensen wrote: > I'm working on a bigger project that may involve generating multiple > versions in different types of notation from the same source file; If by this you mean modern notation in full note values, half note values, etc. I have a solution. It's a bit big to post on the list, and I don't have anywhere to host it reliably at the moment (It uses multiple files, so it's not a snippet; maybe it's a candidate for openLilyLib - I should check with Urs), so if you're interested let me know and I'll email it to you off-list. It also includes (as markup to the modern editions) all the mensuration and proportion combinations I've needed so far. And it generates midi output with the mensuration and proportion correctly observed. I hope you're also aware of the excellent work that Lukas Pietsch has been doing, improving lilypond support of various sorts of early notation, including mensural notation. There is an old version at http://lukas-pietsch.de/Music/ and back in about February there was some activity on lilypond-devel indicating that an updated version might be integrated into lilypond itself. If that happens, it will be a great advance. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond, frescobaldi, and Fedora 22
On Sat, 16 May 2015, Federico Bruni wrote: Il giorno sab 16 mag 2015 alle 17:40, Martin Tarenskeen ha scritto: In Fedora 22 the "yum" command has been replaced by "dnf". Unfortately "dnf remove remove lilypond" automatically also removes the "python-ly" and "frescobaldi" packages. And if I do "dnf install frescobaldi" the Fedora lilypond package is automatically installed. Both I don't want. I want to use the lilypond installer from the Lilypond website, and I want to install frescobaldi and python-ly from the Fedora 22 repository. Why don't you leave lilypond package installed (even if it doesn't work) and set the lilypond downloaded from the website as default in Frescobaldi? (plus if you place it in a path with higher priority it will be the default also on the command line) Good suggestion. I think I will do that. Still hope the problems with Fedora 22, LilyPond, and Ghostscript will be fixed soon though. -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Phil Holmes: ... > You will likely find tags useful, to identify where you need to use > different notation for modern and ancient music. ... I have a tags example available at (suggestions for improvements are welcome!): http://turkos.aspodata.se/git/musik/TomasLuisdeVictoria/o_quam_gloriosum/motet/ http://turkos.aspodata.se/noter/victoria/o_quam_gloriosum/motet/all.pdf Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel music expressions on 1 stave with different notehead sizes?
Hi Rosalie,
one of the snippets could help you:
http://www.lilypond.org/doc/v2.18/Documentation/snippets-big-page#simultaneous-notes-changing-a-single-note_0027s-size-in-a-chord
But you will have to tweak each single note head, which might be somewhat
cumbersome:
% -
\version "2.18"
\include "english.ly"
soprano = { g'8 a' b'4 e''8 f'' g''4 }
alto = {
\tweak font-size #-2 e'8
\tweak font-size #-2 f'
\tweak font-size #-2 g'4
\tweak font-size #-2 c''8
\tweak font-size #-2 d''
\tweak font-size #-2 e''4
}
\score
{
\new Staff
<<
\partcombine
{ \soprano }
{ \alto}
>>
\layout { }
} % score
% -
Cheers,
Klaus
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Re: Changing staff
Hi Marco,
sure it's possible.
See enclosed files.
Cheers,
Pierre
2015-05-16 20:51 GMT+02:00 Marco :
> Hello,
> I would like to know if is possible to reproduce the "Changing staff"
> example (Chapter 2.2.1 Common notation for keyboards of Lilypond guide)
> using:
> - a single file "left.ly" for the Left-Hand
> - a single file "right.ly" for the Right-Hand
> - a file "general.ly" to generate the pdf output file.
>
> (sorry for my english)
>
> Thank you in advance to all for the answers.
>
> Regards
> Marco B.
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
\version "2.18.2"
right = {
8
\change Staff = "down"
g8 fis g
\change Staff = "up"
8
\change Staff = "down"
e8 dis e
\change Staff = "up"
}\version "2.18.2"
\include "right.ly"
\include "left.ly"
\new PianoStaff <<
\new Staff = "up" \right
\new Staff = "down" \left
>>\version "2.18.2"
left = {
\clef bass
% keep staff alive
s1
}
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Re: Changing staff
Marco, I may not understand what you are asking. Section 3.3.1 of the notation manual, "Including LilyPond Files", describes the use of \include. The \include command substitutes the contents of "filename.ly" wherever "\include "filename.ly"" is placed. (Sometimes the component files are named "*.ily" rather than "*.ly" to indicate that they will not compile on their own.) The component files typically contain variable definitions that are \include-ed at the top of the master file. Then the variables are called where needed. I've attached files that, if placed in a common directory, compile to the result you are looking for using 2.18.2. Regards, Pete H. On Sat, May 16, 2015 at 11:51 AM, Marco wrote: > Hello, > I would like to know if is possible to reproduce the "Changing staff" > example (Chapter 2.2.1 Common notation for keyboards of Lilypond guide) > using: > - a single file "left.ly" for the Left-Hand > - a single file "right.ly" for the Right-Hand > - a file "general.ly" to generate the pdf output file. > > (sorry for my english) > > Thank you in advance to all for the answers. > > Regards > Marco B. > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > \version "2.18.2" \include "right.ily" \include "left.ily" \new PianoStaff << \rightMusic \leftMusic >> left.ily Description: Binary data right.ily Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing staff
Marco, I did not see PIerre's e-mail prior to sending my own. I notice that our example files are slightly different but both perfectly valid. Regards, Pete On Sat, May 16, 2015 at 2:35 PM, Peter Heisen wrote: > Marco, > > I may not understand what you are asking. Section 3.3.1 of the notation > manual, "Including LilyPond Files", describes the use of \include. The > \include command substitutes the contents of "filename.ly" wherever > "\include "filename.ly"" is placed. (Sometimes the component files are > named "*.ily" rather than "*.ly" to indicate that they will not compile on > their own.) The component files typically contain variable definitions > that are \include-ed at the top of the master file. Then the variables are > called where needed. I've attached files that, if placed in a common > directory, compile to the result you are looking for using 2.18.2. > > Regards, > > Pete H. > > On Sat, May 16, 2015 at 11:51 AM, Marco wrote: > >> Hello, >> I would like to know if is possible to reproduce the "Changing staff" >> example (Chapter 2.2.1 Common notation for keyboards of Lilypond guide) >> using: >> - a single file "left.ly" for the Left-Hand >> - a single file "right.ly" for the Right-Hand >> - a file "general.ly" to generate the pdf output file. >> >> (sorry for my english) >> >> Thank you in advance to all for the answers. >> >> Regards >> Marco B. >> >> >> ___ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
> It's a bit big to post on the list, and > I don't have anywhere to host it reliably at the moment (It uses > multiple files, ... Multiple files are a more difficult case, but in general you can use services as this: http://pastebin.com/aVZXGEJ9 (this one expires in one week). > I hope you're also aware of the excellent work that Lukas Pietsch has > been doing, improving lilypond support of various sorts of early > notation, including mensural notation. Is there any progress concerning this integration. I didn't follow it up, but I am still interested. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel music expressions on 1 stave with different notehead sizes?
Hi Rosalie,
maybe a small function will make the complicated job a little less
complicated:
% -
\version "2.18"
\include "english.ly"
t = #(define-music-function (parser location music) (ly:music?)
#{ \tweak font-size #-2 #music #})
soprano = { g'8 a' b'4 e''8 f'' g''4 }
alto = {
\t e'8 \t f' \t g'4 \t c''8 \t d'' \t e''4
}
\score
{
\new Staff
<<
\partcombine
{ \soprano }
{ \alto}
>>
\layout { }
} % score
% -
Cheers,
Klaus
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Re: Ottavation text too long for next line
Hi Knute,
well this is one of those complicated cases where Lily is not yet smart
enough. I’d suggest to make the text ‘shorter’, the following may give
some ideas:
\version "2.19.20"
\language "english"
octaveUp = {
\set Staff.ottavation = \markup \override #'(baseline-skip . 1.5)
\column { \line { 8va \tiny \normal-text m.d. } \tiny \normal-text
seulement }
\once \override Staff.OttavaBracket.direction = #UP
\set Voice.middleCPosition = #(- 6 5) % c''
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
<<
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 4 { c4 d e f }
c_\markup \italic "loco" d e f
\repeat unfold 11 { c4 d e f }
}
>>
}
The "loco" marking on the other voice should be considered an
alternative to writing "m.d. seulement", of course.
HTH, Simon
Am 16.05.2015 um 19:13 schrieb Knute Snortum:
I have a piece where I need a fairly long ottavation text that goes
from one line to the next (it says that the ottavation applies to the
right hand only). The problem is that there is only one measure on
the second line and the text doesn't fit when it's repeated. One
solution is to set \break so that the ottavation is all on one line
but this sometimes produces stretched or crowded measures. Is there
another solution?
\version "2.19.20"
\language "english"
octaveUp = {
\set Staff.ottavation = #"8va pour la main droite seulement"
\once \override Staff.OttavaBracket.direction = #UP
\set Voice.middleCPosition = #(- 6 5) % c''
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
<<
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 16 { c4 d e f }
}
>>
}
Knute Snortum
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Re: Ottavation text too long for next line
Hi Knute,
Maybe something like this will work for you?
\version "2.19.20"
\language "english"
#(define (ottava-jr grob)
(let* (
;; have we been split?
(orig (ly:grob-original grob))
;; if yes, get the split pieces (our siblings)
(siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig)
'(
(if (and (>= (length siblings) 2)
(eq? (car (last-pair siblings)) grob))
(ly:grob-set-property! grob 'text '"8va m.d."
octaveUp = {
\once \override Staff.OttavaBracket.direction = #UP
\set Staff.ottavation = #"8va pour la main droite seulement"
\once \override Staff.OttavaBracket.after-line-breaking = #ottava-jr
\set Voice.middleCPosition = #(- 6 5)
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
<<
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 16 { c4 d e f }
}
>>
}
Hope that helps!
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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PDF portfolio of 2.19.20 docs
I've created a fully indexed portfolio of the 2.19.20 PDF docs. You can get it from https://www.dropbox.com/s/7dsr26h8n8wpv8z/lilydoc-2.19.20.pdf?dl=0 (38Mb). Needs Adobe Reader - I haven't found a 3rd party PDF viewer that can cope with PDF portfolios. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
