Hi Jonathan,
Shouldn't the brace be stretched vertically without changing the
thickness?
+1
Kieren.
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Hi Dan, Neil, et al.:
Does the following help?
SoloVoice is a kind of Voice. UpperVoice and LowerVoice are kinds
of SoloVoice.
That's [relatively] self-evident. What isn't crystal clear — either
in my mind, or (IMO) in the documentation — is why the following
wouldn't work (or, perhaps
Hi Torsten,
- What exactly does this pair of numbers mean? Why are there two
values to specify the width of a graphical object?
From the grob-interface doc page: Each grob has a reference point
(a.k.a. parent): the position of a grob is stored relative to that
reference point.
Hi Stezano,
I need, for a 17th century piece, a bar that is constantly 2+2+2+3+3.
I would like to have dashed bar lines in the middle of each bar
and a normal | at the bar end.
Is it possible to have it automatically?
Try something like
thebarlines = \repeat unfold 42 { s2*3 \bar dashed
Hi Dan,
it looks like \Voice starts you off with a copy of the previously
defined
Voice settings. If \Voice is absent, you start from scratch.
The context settings are saved by name. If you do not change the
name,
the modified settings replace the previous settings of the \Voice
Hi Daryna,
In your opinion, would it be faster just to input lilypond using the
traditional method, or using the hybrid method to enter the notes
first, then go back and add / correct other details?
I have always found it faster to enter everything at once, using the
traditional method.
But
Hello all,
I've decided this is going to be my pet project during this, my
Autumn of Lilypond.
I've started a separate thread here, and would like to get moving on
the project as soon as possible. [n.b. I am not intending to cross-
post to -user after this announcement email.]
1. Team
Hi Han-Wen,
This subject has come up before, and solutions were proposed before.
I recommend you vet through the mailing list older comments since the
last rewrite.
That's definitely part of my plan!
Ouch. The traditional role is that the 'lead' (you, that is?) be
the programmer.
Hi Nick,
Is this the only solution?
My preference would be to adjust the padding or X-extent of the
arpeggio directly, e.g.
\version 2.13.3
arpspace = \once \override Staff.Arpeggio #'X-extent = #'(-13 . 1)
treble = \relative c' {
a4 \arpspace cis\arpeggio |
g' cis, |}
bass =
Hi David,
Is there any way to make this work, so that both sets of notes are
connected with glissandos?
If you correct your polyphonic code, it works fine:
\version 2.13.3
\include english.ly
\paper { ragged-right = ##f }
\relative c'' {
cs1
{ \voiceOne cs4 \glissando b \glissando
Hello all,
If I have an \include file which contains a
\context { \RemoveEmptyStaffContext }
and I want to use the \include file [for the rest of its contents]
but *not* have the \RESC, how can I cancel it in the file where
I've got the \include?
Thanks,
Kieren.
Hi Reinhold,
it might work to revert the changes that RESC does to the Staff
context:
\context {
\Staff
\consists Axis_group_engraver
\remove Hara_kiri_engraver
\revert Beam #'auto-knee-gap
\revert VerticalAxisGroup #'remove-empty
}
After all, \RESC is just a shortcut for certain
Hi Mats,
it should work to add the lines
\layout {
RemoveEmptyStaffContext = \context {
\Staff
}
}
above your \include line, i.e. before the parser first sees the
\RemoveEmptyStaffContext.
And the winner is... Mats! =)
As desired, this cancels the effect of \RESC *without* any need to
Hi,
How would you solve these two collisions?:
Which collision(s), exactly?
When I compile [in 2.12.2 or 2.13.3] the score you posted, there is
nothing I would call a collision.
Cheers,
Kieren.
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Hello all,
I've got the following code in a solo violin score:
r4 { \voiceOne b'( c) } \new Voice { \voiceTwo d,! \tweak
#'duration-log #4 g,2 } \oneVoice ef \tweak #'duration-log #4 g,
d''2\downbow \typesetOff a ef f'2 ~ | % 3
a f'4\mf ef' \times 2/3 { d4\tenuto af bf }
Hi,
my editor tells me, in vocal music eights (everything smaller than
a quarter)
have to be normally unbarred and I should use barred eights instead
of slurs.
That is *not* modern practice... I would *strongly* recommend that
you try to convince your editor to use modern practice (i.e.,
Hi Jonathan,
How do I say: Hey Lilypond, use
the following 'minimum-Y-extent for whatever system m. 2 ends up in.
I think you'd have to put an invisible object with that Y-extent in m2.
Cheers,
Kieren.
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Hi Reinhold,
here in Europe, that is traditional notation
Yes, it's traditional notation over here, too... ;)
From the Essential Dictionary of Music Notation, pg 186:
Beaming of notes associated with a lyric now follows standard
notational practice. Traditional practice, now obsolete,
Hi,
Sorry, no chance - this is common practice since Bach,
and I as a seasoned choir leader yadda yadda...
Wow... a closed-minded, backwards-thinking choral director. There's a
first time for everything, I guess! ;)
He's very much convinced that his standard is much easier to read
All
HI Jonathan,
what do the experienced users think about what I've said here?
If there's anyone out there who has used other notational
software and thinks the less fiddling claim is true?
I used Finale from 1991-2003, eventually becoming *quite* proficient.
Then I switched to Lilypond (around
Hi Marc,
is there a way to lower the distance between the point where a slur
starts (or ends, respectively)
and the corresponding (tab) note head *without* manipulating every
slur's control-points?
Can you increase the Y-offset?
Cheers,
Kieren.
Hi Nick,
in the second bar, using the same override does nothing to
increase the spacing between the arpeggio and the preceding note.
Hmmm... that's probably because of the multiple-voices... but seems
like maybe a bug?
What means can I use to increase the spacing there?
Well, it's
Hi Neil,
Really, this makes no sense; any musician coming across such beaming
would assume there's special emphasis being placed on the beaming
division (e.g., for stress or phrasing purposes).
+1
I suppose it depends on what the consensus is among users as to
whether we should retain what
Hi oldwhtman,
Is there a way set the maximum number of measures that
Lilypond will use to build a line of music?
As far as I know (Joe? Mats?) there's no setting like
max-measures-per-system
If you're really interested in such a thing, you could always submit
(and possibly sponsor) a
Hi Skippy,
is there an easy way to change the tonality of a lilypond file ?
If [as your message implies] you mean TRANSPOSE, then yes:
\transpose c fis' { \key c \major c d e f g }
will give you what you want. If, on the other hand, you mean change
the tonality/modality (e.g., from
Hello all,
Does anyone know of a good open source MIDI sequencer with a compiled
binary for Mac OS X?
Thanks,
Kieren.
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Hello all,
Is there a fix yet for the problem [2.13.4-1] that between-system-
padding etc. doesn't work with Lyrics (because they're nonspaceable)?
It's killing me with the lead sheets I'm trying to put out. =(
Thanks,
Kieren.
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Hi Joe,
between-system-padding doesn't work for anything any more; it has
been removed.
OK.
For Lyrics spacing, you have (for spacing within a system)
Lyrics.VerticalAxisGroup #'staff-spacing %% spacing to the staff that
the lyrics is attached to
Lyrics.VerticalAxisGroup
Hi Jay,
Can anyone explain why the notes in the bass line don't follow the
rules that I
understand the b following the a should be in the same octave
shouldn't it?
You haven't used the \relative command on the bass music
expression... =)
Regards,
Kieren.
Hi Miller,
(By default, Lilypond wanted to join the two eighths together with
a beam,
which was even more confusing. I overrode that with
\autoBeamOff...On)
Your non-standard beaming will be an obstacle to most good musicians
— in particular, your first measure is currently grouped as
Hi Richard,
It seems to me that \set tupletSpannerDuration fails to affect
tuplets that are in a \\ construct.
Only if you don't code it right... ;)
music =
{
% This fails to create the right tuplet-spanners.
\set tupletSpannerDuration = #(ly:make-moment 1 8)%
Hi Graham,
-Introduction-Alternative input
Apparently, nobody knows what Denemo is. (or else nobody can be
arsed to send me a bloody two-sentence description)
I don't know what Denemo is, and (to be honest) don't really care.
-Introduction-Alternative input
Apparently, nobody
Hi David,
OIn the Bible-reference title I want a long dash, without spaces,
between '3' and '14'. I think this should be produced by \char #2014,
but that gives a different symbol. (Similarly, in the previous
LilyPond
version, \char #169 didn't produce the copyright symbol but as it does
Hi David,
The ideal solution would be for da capo, dal segno and codas to be
handled (somehow) by the \repeat and \unfoldRepeats constructs
Agreed.
wishful thinking?
Not really... this is open source software! ;)
1. Anything that can be done manually can be automated with
Scheme.
Hi Wol,
Actually, I think it's the clef that's the problem
Why not override the clef stencil with something that includes the
clef and (to the left) a whiteout-ed box of text?
That might work, no?
Cheers,
Kieren.
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Hi Frank,
the punctiation mark like comma, exclamation and question marks
are set behind
the underscore. What is the most elegant approach to achieve this
at ponding?
Probably to \override the LyricExtender #'stencil.
Hope this helps!
Kieren.
Hi Jonathan,
I guess stretched vertically is a bit vague; I guess what I'm seeing
is that as braces get larger, they are less thick than
a perfectly scaled version of the smaller brace
Yes, I see that, and it makes sense — so it's scaled, but not linearly.
That might be considered a bug. =)
Hi Mats,
The problem is rather that the braces currently are scaled
linearly, i.e. by the same factor both horizontally and vertically,
whereas it probably looks better to to use different factors so
that the thickness doesn't grow as quickly as the height.
That's what I meant... thanks
Hi all,
Can the snippet
http://lsr.dsi.unimi.it/LSR/Snippet?id=554
be made into an automatic callback, instead of requiring the creation
of a markup each time? i.e., I would love to be able to say something
like
\useNoteDenominators
or
\override TimeSignature #'denominator-style
Hi Erik,
So here is the organ part I added.
\new PianoStaff
\new Staff = ManualOne
\new Voice { \orgAMusic }
\new Staff = ManualTwo
\new Voice { \orgBMusic }
Don't you instead mean to have
\new PianoStaff
\new Staff = ManualOne \new Voice { \orgAMusic }
\new Staff =
Hi Erik,
when I want to use r2 at the start (or R2) of the bar it looks
awfull. So how do I align these rests centered?
If you mean that you want the (e.g.) half-note rest to be mid-way
through the first half of the measure, rather than left-aligned at
the first beat, then... you
Hi all,
I'm hoping to show a Schenker graph example on my lecture tour next
week, but I find http://lsr.dsi.unimi.it/LSR/Item?id=501
unnecessarily complex — it ends up [to my eye] looking like far more
work, and way scarier, than doing it in Finale (which I did a bunch
of in my day,
Hi Neil,
Something like this, perhaps:
http://lsr.dsi.unimi.it/LSR/Item?u=1id=643
Um... yeah... exactly.
Even though I wasn't the one who [originally] asked for this
possibility, I'll say it: YOU ROCK.
Thanks!
Kieren.
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Hi Neil,
Looks really good, Kieren.
The only thing I find slightly distracting is the alignment of the
carets on the scale degrees. If you don't mind a slight increase in
complexity, I'd suggest using fingerings instead, with a custom
stencil callback to centre-align the columns.
Thanks —
Hi Reinhold:
Example is attached (and uploaded to the LSR:
http://lsr.dsi.unimi.it/LSR/Item?id=642 ).
Very nice — thanks!
This will definitely be a feature in my Lily-lectures next week...
Cheers,
Kieren.
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Hi Jay,
I just checked Honegger's score for Jeanne d'Arc and tempo marks
are above the top staff and then below for the strings. I've
looked in the manual 2.12 and snippets and I don't see a way to do
this.
I tried setting it for the top instrument in each group and that
did not work.
Hi Frédéric,
It is funny. I was quite sure to have the solution but I do not
understand why what I propose does not work: you have to separate
notes and TextSpan in parallel music expressions.
Can somebody tell why this does not work?
Because your construct doesn't have two Voice constructs,
Hi Frédéric,
Works fine, thanks! But I still do not understand why it does not work
with only one voice (i.e. without \new Voice).
That's definitely beyond my understanding of Lilypond internals —
perhaps someone else (Han-Wen? Mats? Nicolas? Joe?) knows the
technical reason(s).
Cheers,
Hi all,
On lilypond.org, I can't seem to locate the 2.13.7 doc PDFs (the only
doc format I ever use).
In particular, the Notation Reference and Usage don't have the old
one big PDF top-link, and the Manuals links (which promises other
formats) appear to be broken.
Any help would be
Hi Erik,
As I see it you create the two voices as if nothing special was
needed.
Then create a third voice, with identical notes as the second voice.
These remain hidden, but the ties are visible.
Am I correct?
Essentially, with one [very small] correction: the third Voice
context doesn't
Hi Erik,
Why doesn't the first bar tie to the second?
Because there are three different Voice contexts involved here... be
sure to read the documentation, especially
http://lilypond.org/doc/v2.13/Documentation/notation/Multiple-
voices#Multiple-voices
But you don't even need that much
Hi David,
Wouldn't it be nice to be able to say ~~ and have the tie work
staff-level?
Yes.
it gets worse when working with \\ when you have to start
guessing the right \voiceOne and similar settings in order
to have the invisible notes sit on the same place as the visible ones.
I never
[Mac OS X 10.4.11, Lilypond 2.13.7]
Hi all,
When I run
lilypond -dshow-available-fonts blabla
I get
dyld: Library not loaded: @executable_path/../lib//
libpangoft2-1.0.0.dylib
Referenced from: /Applications/Lilypond/development/LilyPond.app/
Contents/Resources/bin/lilypond
Reason:
Hi Stefan,
But how can I get Angular brackets for the two first violins?
Not sure what you mean by the question? Please clarify.
Regards,
Kieren.
p.s. I found your original code very difficult to read/diagnose,
because of the mixing of content with presentation, indent
inconsistencies,
Hi Craig (et al.),
I must say that the faster thing is a typical United States
behavior.
Whether or not it started in the USA, it's a worldwide phenomenon
now. =)
[Disclosure: I'm Canadian.]
Our markets and media constantly barrage us with time issues.
I think maybe convenience is a
Hi David,
It is too cheap to put this down to faster. The problem is not that
you need longer to do some things with Lilypond initially. The
problem
is that there is a large number of things for which there is no proper
way to do them at all, and you have to take out the crowbar.
As is
Hi David,
I think that sums up very well why somebody would prefer not working
with Lilypond. Not only do you have to rely on expert advice, but the
main advice is please do what an expert would do, or shut up.
Please show me where I said anything resembling shut up...?
I'm sorry if you
Hi David,
[By the way, since it's apparently open season on posting style
criticism: your consistent lack of salutation and valediction in your
posts makes you seem rude, curt, and above all patronizing.]
Reasonable entails a collective effort not to repeat avoidable
work and
Hi David (and anyone else who makes it here, wondering how to find
the CG),
The manuals don't tell anything about CG, where it is, what it does.
URL:http://lilypond.org/web/devel/participating/ does not tell.
There is no directory of that name in the distribution.
Step 1: Go to home page.
Hi Graham,
the more available/obvious choice would be
to make the new website the main one.
Currently, that's waiting on:
- 2-5 hours of texinfo file editing
I just pulled a new origin/master from git.
Today, I've got upwards of 3 hours to code: what do you want me to
work on?
Cheers,
Hi David,
Where does the GDP document the meaning of the acronym GDP?
Here's one place (of many):
http://lilypond.org/web/devel/participating/documentation-adding
It does not say what kind of code to put where for what reason.
Graham,
The first thing that comes to mind is Alternate input.
Documentation/general/introduction.texi
@node Alternate input
I have to mao-ing learn TEXI now?
So much for your 2-5 hours estimate...
Still-doing-it-but-thinking-there's-almost-definitely-a-better-way,
Kieren.
Werner,
What's the problem here?
The problem is that I come to Lilypond with a skill set —
specifically, many years of Java+Javascript+(X)HTML+XSL(T)+CSS+(La)
TeX experience — which should be more than adequate for any modern
documentation project involving a WWW component.
I want to
Hi Graham,
If we did stuff in plain html, we'd lose the pdf docs. If we did
stuff in plain latex, we'd lose the html docs (without a lot of
tweaking). Both would lose the info docs, which IMO wouldn't be
terrible, but some people seem to like.
I don't even know what the info docs are, so
Hi Jan,
There is nothing to learn. Have you seen a file? Adding plain
text is more intuitive than using Apple's finder. Really.
Well, since I don't even have a build system that works yet, this is
all totally moot at the moment...
Chances are problems are fixed before you encounter
Hi Graham (et al),
For the record, **I have never recommended that somebody use
lilypond**. When meeting a technically-oriented composer
Ah! That's your problem right there... I recommend Lilypond all the
time, but primarily to AESTHETICALLY-oriented composers.
In my experience, most
Hi Jan,
I'm just pointing out that choosing something different will
--currently still -- cost you.
Absolutely... and, as we've witnessed, this is almost certainly
materially affecting the number of developers that can/will work on
Lilypond.
Like it or not, 95% of the computer world is
Hi Jan,
Well, that's the question, isn't it? It depends on the percentage
of users on each platform that are able and willing to contribute.
Absolutely.
It would surprise me if you could find many developers that want
to volunteer their time working on free software, yet continue
to do so
Hi David,
It's not as bad as the numbers suggest. The ratio of serious
developers
who will balk at getting their development environment up and running
will not be all that large.
That may be true, but irrelevant to my point: the vast majority of
the potential/actual serious [new]
Hi David,
The best programmers are often programmers that are into
programming for
the sake of programming. Ask such a person for help with typesetting
music, and Lilypond will be one of the points of attraction for
him, and
obstacles are disproving his geek state (or the state of what he
for those working on a mac, XCode and BBEdit have grep-like
facilities as
well as project-wide search capabilities that report results in a list
that is itself a navigation tool for the hits.
+1
TextWrangler (BBEdit Jr., freeware) also has this wonderful feature.
Cheers,
Kieren.
Hi Werner (et al),
Nothing has been done into this direction. Thanks for reminding us!
I've just filed an enhancement request
(http://code.google.com/p/lilypond/issues/detail?id=902).
It seems to me that this could (should?) be combined with a page
breaker that would allow for booklet
Hi Werner,
I think this is something completely different – you don't need the
requirement of identical number of bars on each double-page;
True... but I still don't necessarily see it as completely
different: the requirements of drawing from two different music
streams (e.g., Primo and
Hi Richard,
where is the snippet, please? (I mean the Lilypond code)
Click on the image (music).
Best,
Kieren.
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Hi Benedikt,
The LSR is your friend! =)
A: Bracketed clefs, time signatures and key signatures at the
beginning of a staf or piece.
B, D, E: Bracketed elements of almost any kind within a staf.
http://lsr.dsi.unimi.it/LSR/Snippet?id=564
C, F: Struck through elements of any kind
You
Hi Stefan,
Do you have any idea how to do this override stuff?
Lots of examples in the LSR:
http://lsr.dsi.unimi.it/LSR/Search?q=time+signature
Hope this helps!
Kieren.
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Hi Stefan,
Now the problem is that the slash is slightly too big
so the 4 is placed a bit too low. How could I solve this?
Maybe something like
\version 2.13.7
tsa = \markup {
\override #'(baseline-skip . 0)
\center-column {
\concat {
\number 3
\raise #0.5 +
\raise
Hi Stefan,
Thank you very much. This really solved it!
Well... =\
My OCD won't let you use that version — at least this one fits in the
staff, like a good time signature should:
\version 2.13.7
tsa = \markup {
\override #'(baseline-skip . 0)
\center-column {
\concat {
Hi Tom,
The only problem I am having is combining the new \context with my
existing one:
\layout {
\context {
% \Score
% \remove Bar_number_engraver
\RemoveEmptyStaffContext
Hi Roman,
You can see the bit I'm trying to transcribe at
http://www.roman.stawski.fr/snippet.jpg
That's clearly an engraving error in the original — the word is
tendresse, and should be engraved ten - dres - - - se.
If you REALLY want to duplicate/propagate this error in your
Hi all,
I'm engraving a song for voice and piano — the voice is swung (dotted
eighth plus sixteenth) while the piano is playing triplets.
I would like to [at least see what it looks like if I] set it so that
the dotted sixteenth in the voice lines up visually/vertically with
the third
Hi Alexander,
I just took your question as a motivation to finally add the
functionality for *num/den suffixes in the following rhythm snippet.
This is fabulous… and *way* more than I was expecting. ;)
@ all:
The string-duration routine certainly is not production-stage or
well tested
p.s. I meant
applyRhythm = #(define-music-function (parser location rhythmA
rhythmB music)
…
On 2009-Nov-23, at 13:58, Kieren MacMillan wrote:
Hi Alexander,
I just took your question as a motivation to finally add the
functionality for *num/den suffixes in the following rhythm
Hi Alexander,
It's certainly easier for this special case, but the applyRhythm as
is gives far more freedom than your example.
If you have a rhythm like 4 4 8 8 4 in several voices, you can
just say
rhythmA = 4 4 8 8 4
sop = \applyRhythm #rhythmA { c d e f g | g f e d c }
alt =
Hi Thomas,
I need to reproduce as faithfully as possible some excerpts
from an old score. It's Mendelssohn's Antigone; parts of it are
melodrama. I'm having trouble getting the vertical alignment right.
Perhaps the hint/function included below will help.
Cheers,
Kieren.
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Hi Neil,
On 2009-Nov-26, at 06:20, Alexander Kobel wrote:
That's due to a recent enhancement by Neil Puttock
Thanks!
Kieren.
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Hi Hugh,
The following fails twice over; it leaves out the indicated text and
ignores \textSpannerDown:
[…]
Where did I screw up?
You made the tweaks to the TextSpanner in the main Voice context:
\new Staff \relative c'' {
\textSpannerDown
\override TextSpanner #'(bound-details
Hi Orm,
it seems I can't fit more than 8 systems of piano music on an a3
page, although at the bottom there is plenty of space.
Have you tried
\paper { systems-per-page = 12 }
or similar?
Hope this helps,
Kieren.
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Hola, Jesús:
how complicated would be to change the name of the chord, despite
the notes included in it?
There are lots of examples/functions on the LSR to learn from:
http://lsr.dsi.unimi.it/LSR/Search?q=chord
Hope this helps!
Kieren.
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Hi Alexander,
is it possible to have the Dynamics (the \p in the example below)
in a layout like the Piano centered dynamics really centered
between the staves (i.e., the staff lines), instead of centered
between the skylines of all elements in the staves?
+1
I offered to $pon$or such a
Hi Ralph,
I'd like to include a note name (e.g., Eb, with the grob for
flat, rather than b) in a markup or in a title.
I've tried searching the documentation, the LSR, and the mailing
list archives with no luck.
You couldn't find
Hi Stefan,
Hm... I tried this a bit... Isn't a good solution either as it seems,
since I often have pedal where there are no notes.
(Already tried this polyphony thing: { } \\ { } \\ ; but this
doesn't actually work fine)
It probably does if you use
{} \new Voice {}
instead.
Do you
Hi all,
It appears that the snippet
http://lsr.dsi.unimi.it/LSR/Item?id=233
does not respect the Staff fontSize (e.g., as set in a \with block).
1. What's the explanation?
2. What's a workaround?
Thanks,
Kieren.
[p.s. v2.13.8 if it matters…]
___
Hi Fredrik,
To print as many as possible of these, I need to split the page
into two
columns. This is the last thing I need to do, everything else is
working
perfectly. I haven't found anything in the manual, nor in LSR about
how to do
this. Is it possible?
You can always put a \score
Hi Neil,
Something like this:
\new Staff \context Voice \with { \remove Text_spanner_engraver }
{ \music }
for each staff where you don't want it. There are other ways, but
this works for me.
A word of warning, Craig: if you have any non-score-level
TextSpanner(s), this will likely
Hi Athanasius,
How can I get the dynamics (i.e pp fff) above the music instead of
below where the lyrics are?
Lillypond seems to keep putting them below.
Use the \dynamicUp macro.
Hope this helps!
Kieren.
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lilypond-user mailing list
Hi James,
Nick wins!
:)
A word of warning: Nick's solution mixes content (dynamic) with
presentation (dynamic placement).
Put another way, if you ever wanted to switch *all* dynamics to go
below — say in a second edition, where the lyrics are above the words
and the dynamics below —
Hi James,
There's a \dynamicUp??!! I really gotta start reading the changes
to the program.
That came in *many* versions ago… ;)
Cheers,
Kieren.
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lilypond-user mailing list
lilypond-user@gnu.org
Hi Athanasius:
I want music notation there too, not just words.
What I want is the two verses with music and then below the music
for the chorus and the lyrics for the chorus.
One easy way is with variables:
verseNotes = \relative { ... }
chorusNotes = \relative { ... }
verseOneLyrics =
Hello Father Michael,
I've set a piece of music and the stanzas of the lyrics are too
close together for me.
I've looked into the documentation ... but my obtuseness prevents
me from
understanding just how to fix it. I'm including the code for the hymn.
What version are you using?
Happy
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