Re: Midi2ly Was: Re: Finale for Linux?
On Thu, 26 Aug 2004 13:38:15 -0300 Pedro wrote: Why don't you try to enhance midi2ly? It's written in python which is easier and faster to learn and work with than C. Python is overrated. C is easy, once you get the knack of it. -- donald_j_axel donax snabela get2net.dk -- http://d-axel.dk/ ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help getting started
On Tue, 1 Jun 2004 20:37:50 +0200 Han-Wen Nienhuys [EMAIL PROTECTED] wrote: The discussion about lacking quality of the user-manual is a recurring theme. The last time, it gave rise to the wiki, whose popularity has been rather disappointing IMO. Yes, unfortunately. I would like to strike another note: Look at this example from Mutopia, this is such a fine piano-layout: http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=449 Sanderson writes this comment: % This piece, an expansion of Ascher's popular Alice tune, % is, I believe, typical of the repertory of the parlor performer. % I suspect it exists on a piano roll somewhere. % The original is very dim; the transcription was as true as % possible; corrections are welcome. % The limitations of Lilypond (especially with respect to slurs) % are apparent; however, its strengths, even at the development % stage, are amazing. Yes, amazing. Regards/Donald -- d-axel.dk/ Donald Axel ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help getting started
On Mon, 31 May 2004 19:48:40 -0500 Jim Sabatke [EMAIL PROTECTED] wrote: I'm researching how do I make a note head smaller because I need to fit a few more notes on a line to keep it from Many techniques can be found in the documentation, this is one of them. [...] place the commands. I've tried searching the lilypond wiki site, but the searches returns mostly hits on how to setup the wiki. You hit a weak point here. Your criticism is a little over the target though. Some Lilypond writers think it is very nice that a lot of things defaults to sane values. So if you do not think that it should be so you could write notes with rosegarden or noteedit and think about what problems these two programs run into. The wiki is still really young. Most people working with Lily or programming to the Lilypond project also have other things in their lives, be it jobs or families, and after hours trying to get the right lilypond output they tend to take up other tasks:-) I'd like to see a wiki site setup for people to share solutions to problems, and to begin to document how to do things in lilypond. But that is how the wiki started! It was Ferenc Wagner (or so I think) who set it up because Open Source is about collaboration :-) You can find a link to the wiki at the bottom of each documentation page, including the examples page. http://afavant.elte.hu/lywiki/FrontPage You will soon find out that it is very difficult to write decent documentation and that many Lilyponders actually write useable but annoying (wrong) English. However, the subject on how to get started is by no means new. The discussion pops up every half year. The best answer is don't get started :-) with criticism, but go ahead following some of the examples be it from Mutopia or from the collection going with the source and use the source even if it is involved. It is a couple of months ago I finished layouting a small 0.50 piece, Chopin's C-Major Prelude, it took me 1 month, and I have forgotten much about which contexts are default etc and what they do. Yes, we definitely have to explain this and keep up working with the wiki. It is different from writing parts for an orchestra or just copy/beautify a score, which I have been doing 30 years ago. With ink. -- -- d-axel.dk/ Donald Axel -- donald_j_axel snabela get2net.dk -- http://d-axel.dk/ ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Barenreiter Verlag used Toppan Scan-Note
On Mon, 12 Apr 2004 09:15:28 +1000 Bruce McIntyre [EMAIL PROTECTED] wrote: http://www.bekkoame.ne.jp/ro/hossy/Engraving/GallaryKanno.html and more info here: http://www.craftone.co.jp/english/scan-note/index.html it seems pretty primitive to me; tweaking in Illustrator seems to be a requirement for a complete score. Thank you for interesting links. Maybe we should point out some of the outstanding examples on Mutopia? Scan-note has a long history (starting in Denmark almost before computers were invented) and probably has many qualities. Very interesting links. I think Lilypond has what is needed to music like the link-example although it is difficult for a beginner to learn how to tweak and place e.g. nice slurs. In time there will be simple tools for that as soon as we get more into details. /Donald -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Easy way to define text marks?
On Wed, 10 Mar 2004 22:41:07 -0100 Milan M. Horák [EMAIL PROTECTED] wrote: ritt. By the way, what is ritt. indicating? Do you mean rit.? Ritenuto, ritardando? -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: non-relative relative mode?
On Thu, 26 Feb 2004 11:39:02 +0100 (CET)
Reuben Thomas [EMAIL PROTECTED] wrote:
I attempted to use \relative c'', but found that mode to be much too
unpredictable for my tastes.
It's entirely predictable: if a note a up to a fourth from the previous
one, you don't need a ' or a ,; otherwise, you need one (or more) comma or
tick. What's the problem?
You don't get what this user means by unpredictable.
You cannot cut and paste, you cannot read it, you cannot trust you
eye in multivoice piano context - and I think that there even are
some chord bugs somewhere along the relative line. \relative
just adds another dimension to the readability issue for piano
music. Where is which voice? Where is the dynamic for that
notecolumn/bar? Is this the upper voice or are your reading the
lower voice? When you have more than 10 bars I guess this becomes
more and more of an issue.
So personal tastes vary. Use what you like.
It takes a fraction of a second to enter a lot of
Therefore use transpose for what it is meant to do, not as a
relative replacement.
In certain contexts you even add less of these than you do in
\relative mode. (jumping voices, arpeggios, I had a better example
the other day).
What do you prefer:
\absolute_pitch {
f a e'
f'a'e''
} /* can be read immediately anywhere, cut and pasted into other \absolute */
or
\relative c' {
f,, a e'
f a e'
} /* are there two octaves between the f's? */
Consider that you have to find the \relative X specification
somewhere 400 lines above if you are reading 100 bar - piece of
music.
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Re: non-relative relative mode?
On Thu, 26 Feb 2004 17:57:19 -0500
David Raleigh Arnold [EMAIL PROTECTED] wrote:
http://www.openguitar.com/files/octly.txt
Ok - creative bid on another solution.
I have considered formating piano and scores something like this:
%bar 1 .. 4
violino{ a | b c' d' b | c' d' e' c' | d' e' f2 |
vlcello{ a,| b, c d b, | c d e c | d e f2 |
pnotreble{ a | b etc.
pnobas { a,| b, etc.
%bar 5 .. 6
and have gawk or another parser splitting/reformating.
But I want to get more experience with the layout basics first.
Look on the Giulio-Cesar Mutopia edition - impressive.
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Re: Typeset, typEset, tyPeSet...panT,pant,*PANt*!
On Wed, 18 Feb 2004 15:23:39 + (GMT) Joshua KoOoOoOOoo... [EMAIL PROTECTED] wrote: Tell me if I'm stupid or what, but after getting use No you are not. to the syntax, I still need about 2 hours just to enter a small little section of a instrument at a time. Anyone' thinks this slow? That depends on what music and how much experience you have got - of course. ... Do you guess just type the notes in 1 by 1. Or would u convert from midi? or MusicXML? or u use emacs? with perphaps quick mode input? Next thing I like to know is beaming. take a example of a8. a16 a8. a16 Done Logically, lilypond beam first 2 notes together and the last 2 notes together. However in the publishing, and in terms of phrasing (the first note happens to be end of a phrase), first note and 2nd note are separted(no beam). then 3rd and 4th note beamed. After couple of trys, i manage to recreate that effect by this a8. [] a16 a8. a16 Try a8. a16[ a8. a16] and then please read the tutorial from the beginning to the end even if you skip paragraphs which are not directly relevant to your needs. And make some simple music at first, just as an exercise, use a couple of hours on, say, a page of 16 or 32 bars melody with extras, be it chords or text. Then, when you want to do something more complicated find out from mutopia.org which examples are closest to what you want. There will be many pieces of music which may take a very long time to enter if you have to make tweaks - and learn it at the same time! /Regards (Added cc: to the list so others would know that you have got some kind of answer.) -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Space between beams?
What is the name of the variable for the distance between
beam-lines?
If there is such a variable it would improve the engraving
on which I am working, Chopin op. 28.1. I could need it for
several other pieces too.
The example shows the beams of the inner voice just keeping
distance from notes/lines, and all is well. It would be even
better with smaller beams, though. I tried
\property Voice.fontSize = #-1
but that makes noteheads smaller too.
I hope this is not too much of a beginner/FAQ question,
I have tried to find examples but cannot - maybe there isn't
and then that would be nice to know.
% force direction of stems
u = \stemUp
d = \stemDown
b = \stemBoth
% explicit staff change
su = \notes{ \translator Staff = upper}
sd = \notes{ \translator Staff = lower}
%bar 5
\times 2/3 {r16 \su \u e'a' }
\once \property Voice.NoteColumn \set #'horizontal-shift = #1
\once \property Voice.Beam \override #'thickness = #0.34
\once \property Voice.Beam \override #'positions = #'( 2.1 . -0.4)
%% no, no. \once \property Voice.fontSize = #-1
\times 2/3 { c'' a'd' } |
Regards
/Donald
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Re: missing dots with merge-differently-dotted
On Sun, 1 Feb 2004 20:46:15 +0100 Matthias Kilian [EMAIL PROTECTED] wrote: Do you also own the BH Edition? If so, what do you think about the engraving? (See Jan's mail and my reply to it) I saw Jan's answer and I tried to find my copy. I have an ed.Peters piano arrangement for the left-hand. It is maybe by Brahms but it is torn-out pages w/o heading! My book-shelves broke so I am in a mess. My experiments were made out of sheer interest because it seems that much piano music need deep-lilypond insight and I want to get that kind of insight. I hope to be able to contribute notation guidelines and templates for difficult pianosettings (satz) so that next time we engrave good music we'll just cut-and-paste. I still do not understand why I couldn't move the notecolumn with a \once statement, and I think that would be the solution. -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: missing dots with merge-differently-dotted
On Fri, 30 Jan 2004 23:13:07 +0100
Matthias Kilian [EMAIL PROTECTED] wrote:
%% changed from version 2.1.15
\version 2.1.0
\score {
\notes \relative c' {
\property Staff.NoteCollision \set #'merge-differently-dotted = ##t
\time 3/4
\key d \minor
f8 g16 a {bes,8 d g d'16 cis d8 f,} \\ {s8 d4. ~ d4}
{e16 f g bes} \\ e,4 a16 g f e
}
\paper {}
}
Seems to work nicely with an older version.
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Re: Wish: Page Layout Diagram
On Sat, 17 Jan 2004 03:09:38 +0100 Ferenc Wagner [EMAIL PROTECTED] wrote: Han-Wen Nienhuys [EMAIL PROTECTED] writes: Speaking of diagrams, how do you people like this? http://lilypond.org/doc/v2.1/Documentation/user/out-www/lilypond/Technical-manual.html#Technical%20manual Very much. :) Thanks for it! Feri. Indeed - and balloon.ly, excellent link for medium-experienced engravers. Thank you! -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Enlarging measures
On Sat, 17 Jan 2004 15:17:12 + Alberto Manuel Brandao Simoes [EMAIL PROTECTED] wrote: Is there any hack to enlarge a little measures? I am typesetting one 2/4 music and it is all too much glued. THanks Alb What do you mean by glued? If notes and pauses etc. are too close together, look for padding in the one-file-doc. Maybe it is more appropriate for you to choose a paper16, 16 lines, or 12, and make linebreaks after every 6 bars or so - and specify noragged right margin if necessary (I think the right margin defaults to straight). /D -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: example files (was Re: SATB 2-staff template and request for suggestions)
On Mon, 12 Jan 2004 22:06:30 -0500 Kieren Richard MacMillan [EMAIL PROTECTED] wrote: However, for my own learning curve -- especially when I'm a newbie in some field -- I find it useful to see real-world examples, which almost by definition will include tens (if not hundreds) of tips/tricks/techniques working together towards a well-defined, useful goal. It is ok with me, better though, if (most of) the examples transforms to nice lilypond engraving. Absolutely no more than 24 lines! (was a C-programming maxime, each function should be within the reading limits of a 80x24 screen.) So it takes a little creativity to do it right and pointing out the essentials for the newbie, but it is worth it - such beautiful printouts, really, I love it! -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond website
On Sun, 4 Jan 2004 19:57:49 +0100 Han-Wen Nienhuys [EMAIL PROTECTED] wrote: I am looking forward to your constructive criticism, and will read your patches closely. The discussion has brought forward many new points to me. I was aware that clickers might spend as much time, and that text-format and CVS is the ultimate tool for larger projects. Dear Han-Wen (and Jan), I was fascinated by the beautiful fonts from first on. I have tried to learn some Scheme (and understand a little now, soon more) and want to contribute. However! I think I had better study many more details before trying to add anything. The best way for me to contribute at this stage is simply to make a HOWTO on piano music with LilyPond. PianoMusic is sometimes very difficult and demands many subtle techniques. I do not dare to do Ravel's Jeu d'eaux but after doing Chopin's C Major prelude and some of my own stuff, seeing grace notes and acciacaturas in the Nereides I am convinced that it can be done, because one has access to all the parameters of sizes and distances. So LilyPond is great for sure. Thank you for your great work. After the first success one simply re-uses code. My HOWTO will include examples on how to use internal variables, and explain where it isn't good. Many examples may be collected from the mail list (asking people if it is ok or making a parallel). So I am in a position where I enjoy *very much* to discover and use the power of LilyPond. Happy New Year Donald -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: NoteHead
On Mon, 29 Dec 2003 20:30:19 +0100 Ferenc Wagner [EMAIL PROTECTED] wrote: once \property Voice.NoteColumn \set #'horizontal-shift = # Thank you very much! That was exactly what I had missed. You can see the resulting output here (small .png): http://d-axel.dk/images/Chop-28,1-b20.png and http://d-axel.dk/images/Chop-28,1.png but I also attach a copy on this mail, hoping it is not too big. As for a drawing of the problem I hope the solution makes it clear what the problem was. It is the third and fourth column where the notes were clashing or illegible, or, with a noteHead extra offset, where the stem was wrong and when moving the stem with extra offset the beams were wrong etc. etc. Now the resulting output is really professional, except maybe that I could diminish the space between the beams. I am sure there is a parameter for that, too. Chopin's manuscript has the same setting, that is, a middle voice with lesser beams, though not like grace/acciatura notes. He probably has seen Bach-engravings, where Bach himself has slurred or bending beams. As you probably know this is one of the most difficult things to do by hand (I was a music copier/orchestral parts-scribbler 20 years ago). You can see the complete typesetting of Chopins prelude in C, op. 28.1 here: /var/www/html/pub/download/Chop-28,1.pdf or, longer download /var/www/html/pub/download/Chop-28,1.ps (There are still some ligatures missing at the end, I have a solution). Once more: Thank you! Regards/Donald -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ attachment: Chop-28,1-b20.png___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Mirror for lilypond.org?
Is there a mirror where I can download doc for Lilypond 2.1? Or newer? Is lilypond.org down? -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: NoteHead [WAS:] xdvi watch
On Sun, 21 Dec 2003 04:56:39 +0100 Ferenc Wagner [EMAIL PROTECTED] wrote: Donald asked: [... would very much appreciate ] help on how to skew noteheads from the vertical axis in pianomusic with complicated inner voicings. In chords, ie. between noteheads should be put on opposite sides of the stem in such a case. Otherwise you can use \voiceOne ... Four for different stem directions and horizontal offsets. See 'Polyphony' in the manual. I started out with four voices. The piece is actually a beautiful demonstration of voicing in Chopin's style. Recently I have only seen ed. Peters way of laying out voices but I suspect Chopin wrote it like that. If these are not enough, you can still \set extra-offset to your liking, see 'Constructing a tweak' and 'Tuning objects'. Can I attach the source (and a .ps) file? Source is OK, ps is generally too big. You can attach a small .png or provide a download link. Ok! Thank you for your answer. I did try to put the clashing notes in chord angles, but the skew is the wrong way no matter what I do (because of basic formating rule). Using \once \property Voice.NoteHead \set #'extra-offset = #'( 0.8 . 0.0) leaves the formating engine unaware of the notehead (as documented) I though I had docs on-line locally but I cant follow links to NoteSpacing, sorry (Faulty/incomplete installation.) Either I could find out whether there is a StemPosition extra-offset thing, or maybe I am stuck here and need to do some magic with tranparent notes, I cannot yet judge. source attached. Bars in question: http://www.d-axel.dk/images/Chop-28,1-b17-v12.png or smaller http://www.d-axel.dk/images/Chop-28,1-b17-v12x.png I should add that part of the magic in this music is the rythmical drive acquired by changing from trioles to pentoles, from6 against 4 to 5 against 4. So it is not a beginners mistake that notations is complicated (taken from ed.Peters). There may be other satisfactory ways of notation, though. Regards from Donald -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ Chop-28,1.ly Description: Binary data ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: xdvi watch
On Sat, 20 Dec 2003 12:16:34 +0100 Atte André Jensen [EMAIL PROTECTED] wrote: donald_j_axel wrote: I have experienced the same with gv some weeks ago. Atte: gv watch works like a charm here... Donald now: Good. Isn't it giving a better rendering? Did it fill your needs? The note-print blinked, but nothing changed! Atte: xdvi doesn't blink. If I press reread the file is indeed reread. I meant blink, not blink. Well, apart from that, xdvi seems broken here. There are no noteheads, so something is definitely wrong. I am not digging into that as long as TeX-dvi-postscript-pdf gives a useable printout. Maybe I should have noted that I run debian/unstable... I am running LilyPond 2.0.1 on a chrooted Gentoo which has given me more problems than I care to tell. I like Gentoo for many things, especially for being able to install new packages. In order to run Lily 2.0.1 I had to have new GUILE/Gnome etc. and I got that by having a chrooted Gentoo. Lates-packages-Gentoo will always be unstable, but for Gentoo it is ok. -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: xdvi watch
On Sat, 20 Dec 2003 16:02:09 +0100 Ferenc Wagner [EMAIL PROTECTED] wrote: donald_j_axel [EMAIL PROTECTED] writes: xdvi seems broken here. There are no noteheads Did you source lilypond-profile during your shell startup? No. I placed a copy of lilypond-profile in /etc/profile.d/lilypond-profile but as I run lilypond in a chroot'ed gentoo-partition it was not sourced. When sourcing it manually the xdvi can run a lot of font-things, but the picture is not much better, noteheads being triangular. TeX-dvi-postscript-pdf gives a useable printout. Yes, but it doesn't give you pointclick. Try it! Thank you for the answer, it sounds like an interesting feature. I will try it but need to know more about why I should click. Are you referring to a feature combining xdvi and emacs, so that if I want to change something I can click on the note and emacs will go to the corresponding position in the source-file? Clicking is not a major concern, though. I would much prefer help on how to skew noteheads from the vertical axis in pianomusic with complicated inner voicings. I am working on Chopin C-major prelude just to find out how complicated voicings can be done and there is a second-interval in bar 20 which I cannot handle in a readable way. Noteheads grow into each other. Can I attach the source (and a .ps) file? -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Request for comments
Chopin prelude op. 28.1 I do not think this is a trivial example. I need help for the diminished beams for the 3rd. voice. It is not a solution to have the 3rd voice continue on lower staff. Though not perfect it begins to look good. Any comments will be appreciated. -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ Chop-28,1.ly Description: Binary data ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Length of stems
SUMMARY: Am I shortening stems the right way? Can anyone tell if I do things the best way? As an exercise for complicated piano voicing I tried to put down the first bars of Chopin op. 28.1 (C Major Prelude). As expected I ran into several problems and I would like someone to have a look at my solutions - please mail me, or just leave a comment on http://www.d-axel.dk/cgi-bin/blox-danish/ or http://www.d-axel.dk/cgi-bin/blox-danish/2003/12/14#Preludium-28,1-x5 where you can also get the source (or have a look at it in your browser, click on the note example) (I will translate to English soon, then it will be http://www.d-axel.dk/cgi-bin/blox-dax.cgi) There are two compromises left to solve, but it works, beautifully at that. FIRST ISSUE: For one thing the stems for the lower middle voice must be a little shorter and the beam must be thinner. To dimension the beam can be made with some Scheme code. I have already shortened the stem, though I am not sure that I am doing it the right way: \property Voice.Stem \set #'beamed-extreme-minimum-free-lengths = #'(1.0 0.4 0.2) % \property Voice.Stem \set #'stem-shorten = #'(3.0 2.5) As you can see the second statement is out-commented, but when active it didn't do anything, even if I changed the numbers. I would like the stem a little shorter than the result which I obtained. SECOND ISSUE The slur which must be used tell a piano player that the style is rather legato (even if it is the pedal which makes the legato effect - I will write about the playing technique elsewhere!) In my setup of voices the slur should pass from bottom voice up to the top voice, last note in the bar (et seque). I think I can hack that by making a silent invisible voice, but I am not prepared to do that kind of hack yet! THIRD ISSUE --- Actually there are one more which I am working on, but the documentation describes that one. The second half bar 1/8 rest must be moved downwards. I wouldn't write this kind of petitesse specialist questions if Jan and Han-Wen Nienhuys had not written about the perfection of note-printing in a way so that I am 100% sure that these issues are appreciated. I hope this is the right place to pose a question like this. Regards! -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Length of stems
Hey! I found Jan's demonstration on the list showing how to specify exact position /length of stems: \property Voice.Beam \override #'positions = #'(-0.6 . -0.5) works for the first two bars, I suspect I'll have to adjust all the way when notes change. (No new screenshot yet). And position of rests: f,8\rest % works! Still missing: Information on slur - should I construct an invisible voice? -- donald_j_axel(at)get2net.dk -- http://d-axel.dk/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
