Re: slurs and bars in vocal music
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., beaming to the beat, slurring for melismas), which is the current standard, not least of all because it's significantly easier for singers to read. However, if you can't convince your editor to get into the 20th (never mind 21st) Century... ;) Is there a global setting for that? I know \autoBeamOn/Off (works only within a voice) and \override Slur #'stencil = ##f But this way there would be a horrendous amount of tweaking - are there better ways? The docs at http://lilypond.org/doc/v2.13/Documentation/notation/Aligning-lyrics- to-a-melody#Aligning-lyrics-to-a-melody have lots of related tweaks and tips — once you've completely (re-) read it, come back to the list with specific questions. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
Am 2009-09-25 um 16:37 schrieb Reinhold Kainhofer: Am Freitag, 25. September 2009 16:21:01 schrieb Kieren MacMillan: 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., beaming to the beat, slurring for melismas), which is the current standard, not least of all because it's significantly easier for singers to read. Actually, here in Europe, that is traditional notation and the standard for any non-modern pieces! E.g. take any Bärenreiter, Breitkopf, Carus, etc. edition and you'll see that all of them use beaming for melismas in the vocal voices! So, for modern music (musical, pop, etc.), slurs might be the standard, but if you are used to classical music, the new notation is quite confusing and the singers will have problems when sight-reading. Ok, so he's right (and he complains a lot about those American defaults of all music typesetters), but I find it illogical nevertheless. I'm very glad, Thomas Morgan provided me with a patch to typeset minor chords as lowercase - some other European or at least German default that LilyPond still doesn't support. Now my (and his) last wish that I don't know to fulfill is -is and -es chords (see my other mail). Thank you all! Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
Am 2009-09-25 um 16:21 schrieb Kieren MacMillan: 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., beaming to the beat, slurring for melismas), which is the current standard, not least of all because it's significantly easier for singers to read. However, if you can't convince your editor to get into the 20th (never mind 21st) Century... ;) Sorry, no chance - this is common practice since Bach, and I as a seasoned choir leader yadda yadda... He's very much convinced that his standard is much easier to read for singers (it's becoming a songbook); in my choir and folk singer experience it isn't, but anyway... Is there a global setting for that? I know \autoBeamOn/Off (works only within a voice) and \override Slur #'stencil = ##f But this way there would be a horrendous amount of tweaking - are there better ways? The docs at http://lilypond.org/doc/v2.13/Documentation/notation/Aligning-lyrics-to-a-melody#Aligning-lyrics-to-a-melody have lots of related tweaks and tips — once you've completely (re-)read it, come back to the list with specific questions. Thank you, so there's no general setup? I defined some shortcuts for the slur tweaks, use manual beaming, will perhaps use \melisma additionally and continue to dispair. If I switched off slurs using \override Slur #'stencil = ##f how do I enable it again without warnings? \override Slur #'stencil = ##t does work, but issues an error (#t is no stencil) Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Freitag, 25. September 2009 16:21:01 schrieb Kieren MacMillan: 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., beaming to the beat, slurring for melismas), which is the current standard, not least of all because it's significantly easier for singers to read. Actually, here in Europe, that is traditional notation and the standard for any non-modern pieces! E.g. take any Bärenreiter, Breitkopf, Carus, etc. edition and you'll see that all of them use beaming for melismas in the vocal voices! So, for modern music (musical, pop, etc.), slurs might be the standard, but if you are used to classical music, the new notation is quite confusing and the singers will have problems when sight-reading. Cheers, Reinhold - -- - -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iD8DBQFKvNWZTqjEwhXvPN0RAqrqAKCT8sMxnckxIyhnHZUAIv9XMCWdOgCfboJh Co9MH90gOG0PZpYUMZ74pW4= =vqvg -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
I don't understand how \override Slur #'stencil = ##f can solve any
problems, since you have to insert the corresponding beams manually to
get the correct melisma. Why not use your text editor to replace each (
by a [ and each ) by a ] ? This, combined with \autoBeamOff, will give
the desired beams, absence of slurs and melismas.
If you want to do the setting corresponding to \autoBeamOff for the full
file, just add
\layout{
\context{
\Score
autoBeaming = ##f
}
}
at the top of the file.
/Mats
fiëé visuëlle wrote:
Am 2009-09-25 um 16:21 schrieb Kieren MacMillan:
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., beaming
to the beat, slurring for melismas), which is the current standard,
not least of all because it's significantly easier for singers to read.
However, if you can't convince your editor to get into the 20th
(never mind 21st) Century... ;)
Sorry, no chance - this is common practice since Bach, and I as a
seasoned choir leader yadda yadda...
He's very much convinced that his standard is much easier to read
for singers (it's becoming a songbook); in my choir and folk singer
experience it isn't, but anyway...
Is there a global setting for that?
I know \autoBeamOn/Off (works only within a voice) and \override
Slur #'stencil = ##f
But this way there would be a horrendous amount of tweaking - are
there better ways?
The docs at
http://lilypond.org/doc/v2.13/Documentation/notation/Aligning-lyrics-to-a-melody#Aligning-lyrics-to-a-melody
have lots of related tweaks and tips — once you've completely
(re-)read it, come back to the list with specific questions.
Thank you, so there's no general setup?
I defined some shortcuts for the slur tweaks, use manual beaming, will
perhaps use \melisma additionally and continue to dispair.
If I switched off slurs using
\override Slur #'stencil = ##f
how do I enable it again without warnings?
\override Slur #'stencil = ##t
does work, but issues an error (#t is no stencil)
Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
=
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 6:31 AM, fiëé visuëlle fiee.visue...@gmx.net wrote:
Hi again,
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.
Is there a global setting for that?
To change the global settings for a context, you put the setting in a layout
block (see Notation Reference 5.1.5 Changing context default settings)
\layout {
\context {
\Staff
autoBeaming = ##f
}
}
You can find the property you want to set (autoBeaming) by looking for the
definition of \autoBeamOff. This is done by going to the git repository
http://git.savannah.gnu.org/gitweb/?p=lilypond.git
And going to the search box in the upper right, typing autoBeamOff, and
changing the selection box from commit to grep.
Then you'll see a result that says in the file ly/property-init.ly
autoBeamOff = \set autoBeaming = ##f.
I know \autoBeamOn/Off (works only within a voice) and \override Slur
#'stencil = ##f
You shouldn't write your music with a slur, you should write it with a
manual beam, shouldn't you? (That is, replace a8( b c d) with a8[ b c d]).
HTH,
Carl
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
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, was to use flags for eighth notes, sixteenth notes, etc. Beams were only used for melismas. I don't own any other modern style guides (i.e., written or re-edited in the last 20 years), but I'd be shocked if they contradicted that. if you are used to classical music, the new notation is quite confusing and the singers will have problems when sight-reading. Actually, I've personally conducted several tests on different occasions (different choirs) with two different editions of the same score: the beamed-to-beat was easier for them to sight read than the beamed-to-melisma, every time. Furthermore, I have had conversations with numerous professional singers, conductors, and orchestral players — every single one, *without exception*, has said it's more difficult to read improperly beamed notes (e.g., harpists in orchestra, where the hand is supposed to switch on a gliss but the beaming is melismatic). But anyone can feel free to use an obsolete, more difficult notation system if they really want to! ;) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
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 evidence — written and anectodal — that I have encountered, as well as my own experience (as composer, conductor, singer, and performer), strongly disputes that old wives' tale. For the record, does he also want you to use the old Novello backwards eighth-note rest for quarter rests? I mean, that was also the common practice since Bach — but people [wisely] decided that a *real* quarter rest is less confusing to read. in my choir and folk singer experience it isn't, but anyway... Yes, the choir director wouldn't actually want to ask the *singer* what's easier, right? ;) Most of the time, I find these resistant to change ideologies are personally-held and not based in reality or other's opinions/ experiences. so there's no general setup? Not that I know of... but someone could write up a Scheme hack, no doubt. If I switched off slurs using \override Slur #'stencil = ##f how do I enable it again without warnings? \revert Slur #'stencil ?? Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 8:39 AM, fiëé visuëlle fiee.visue...@gmx.net wrote: If I switched off slurs using \override Slur #'stencil = ##f how do I enable it again without warnings? \override Slur #'stencil = ##t does work, but issues an error (#t is no stencil) If you read the Internals Reference, 3.1.90 Slur, you will see that the default value of Slur #'stencil is ly:slur::print So to turn slurs back on, you would do \override Slur #'stencil = #ly:slur::print HTH, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Freitag, 25. September 2009 17:41:00 schrieb Carl Sorensen: On 9/25/09 8:39 AM, fiëé visuëlle fiee.visue...@gmx.net wrote: If I switched off slurs using \override Slur #'stencil = ##f how do I enable it again without warnings? \override Slur #'stencil = ##t does work, but issues an error (#t is no stencil) If you read the Internals Reference, 3.1.90 Slur, you will see that the default value of Slur #'stencil is ly:slur::print So to turn slurs back on, you would do \override Slur #'stencil = #ly:slur::print Wouldn't \revert Slur #'stencil be the better approach, since you don't need to know the default value of the grob property? Cheers, Reinhold - -- - -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iD8DBQFKvOVtTqjEwhXvPN0RArkGAKDKinlKZ8XZ5XTI0UNRMBqzt71uiQCgsO3H ipHrBz0LBXGV7bf2qU/2hyQ= =wY35 -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 9:44 AM, Reinhold Kainhofer reinh...@kainhofer.com wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Freitag, 25. September 2009 17:41:00 schrieb Carl Sorensen: On 9/25/09 8:39 AM, fiëé visuëlle fiee.visue...@gmx.net wrote: If I switched off slurs using \override Slur #'stencil = ##f how do I enable it again without warnings? \override Slur #'stencil = ##t does work, but issues an error (#t is no stencil) If you read the Internals Reference, 3.1.90 Slur, you will see that the default value of Slur #'stencil is ly:slur::print So to turn slurs back on, you would do \override Slur #'stencil = #ly:slur::print Wouldn't \revert Slur #'stencil be the better approach, since you don't need to know the default value of the grob property? Yes, of course! D'oh! Sorry about the bad advice. And thanks for cleaning up after me. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
Thank you all for the discussion and the good advice! I don't want to let my editor look like an evil stick-in-the-mud (or how do you say) - he's a real expert in German and European folk music, so maybe he's just only used to older songbooks... (And I agree, most folk songbooks that are 10 years and older, use this style.) I won't haggle with him - if my customer wants nonsense, he'll get nonsense. The reason why I didn't just use [] instead of () is that I didn't want to check and change the lyrics of all the songs that were already typeset. I guess I'll use that approach for the rest of the songbook. Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
In message blu0-smtp35d912a8614bd537946e5194...@phx.gbl, Kieren MacMillan kieren_macmil...@sympatico.ca writes 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 evidence — written and anectodal — that I have encountered, as well as my own experience (as composer, conductor, singer, and performer), strongly disputes that old wives' tale. Don't forget the familiarity principle. If he's only ever sung, in old-fashioned choirs that used that standard, then he'll have no trouble with it. Me - I play the trombone as you know. I switch between treble, tenor and bass clef as required. But nowadays I mostly read bass clef ONLY (in a concert/military band the trombone can read either). The only time I ever read treble from choice, is when I'm playing in a brass band where it's all treble. The point is, which standard it is is irrelevant, It's when you chop and change that makes life difficult (if I get a treble part at concert band I'll often try and play it in bass clef :-). For the record, does he also want you to use the old Novello backwards eighth-note rest for quarter rests? I mean, that was also the common practice since Bach — but people [wisely] decided that a *real* quarter rest is less confusing to read. Is that a Novello thing? I still meet it quite a lot in old parts, especially marches. It's probably a BH thing as well. It's not THAT hard, once the shock of hitting the things has worn off :-) Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 10:15 AM, fiëé visuëlle fiee.visue...@gmx.net wrote: The reason why I didn't just use [] instead of () is that I didn't want to check and change the lyrics of all the songs that were already typeset. I guess I'll use that approach for the rest of the songbook. But the documentation says that if auto-beaming is switched off, then manual beaming creates a melisma. So you should be able to switch () for [] and not have to play with the lyrics as all. Is this functionality not working? Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
Am 2009-09-25 um 21:03 schrieb Carl Sorensen: The reason why I didn't just use [] instead of () is that I didn't want to check and change the lyrics of all the songs that were already typeset. I guess I'll use that approach for the rest of the songbook. But the documentation says that if auto-beaming is switched off, then manual beaming creates a melisma. So you should be able to switch () for [] and not have to play with the lyrics as all. Is this functionality not working? The documentation is right, of course - I didn't knew that until I tried it... :) BTW: Most of my sources for this songbook use that oldfashioned style, and I know some aren't younger than 10 years. But this songbook is for old people anyway. ;-) Just, pretty please: Could someone tell me how to get chord names with -is and -es (saying fis and not f#)? Or of course point me to the appropriate chapter of the docs. Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 25.09.2009, at 22:17, fiëé visuëlle wrote: Just, pretty please: Could someone tell me how to get chord names with -is and -es (saying fis and not f#)? Or of course point me to the appropriate chapter of the docs. Section 2.7.2, Displaying chords under Customizing chord names James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 2:17 PM, fiëé visuëlle fiee.visue...@gmx.net wrote:
Just, pretty please: Could someone tell me how to get chord names with
-is and -es (saying fis and not f#)?
Or of course point me to the appropriate chapter of the docs.
Here's a set of scheme routines that will allow you to get Fis, Aes, etc.
But it doesn't do the lower-case root name for minor chords. But I think
you have something from somebody that gets the lower-case root name for the
minor chords.
HTH,
Carl
%
\version 2.13.4
#(define (pitch-alteration-semitones pitch)
(inexact-exact (round (* (ly:pitch-alteration pitch) 2
#(define ((chord-name-german-markup-text-alteration
B-instead-of-Bb) pitch)
Return pitch markup for PITCH, using german note names.
If B-instead-of-Bb is set to #t, real german names are returned.
Otherwise, semi-german names (with Bb and below keeping the
british names). Alterations are indicated with -es and -is
instead of the flat and sharp symbols.
(let* ((name (ly:pitch-notename pitch))
(alt-semitones (pitch-alteration-semitones pitch))
(n-a (if (member (cons name alt-semitones) `((6 . -1) (6 . -2)))
(cons 7 (+ (if B-instead-of-Bb 1 0) alt-semitones))
(cons name alt-semitones
(make-line-markup
(list
(make-simple-markup
(vector-ref #(C D E F G A H B) (car n-a)))
(let ((alteration (/ (cdr n-a) 2)))
(cond
((= alteration FLAT) (make-simple-markup es))
((= alteration SHARP) (make-simple-markup is))
(else empty-markup)))
myChords = \chordmode{
ais1 bes b c
}
\score{
\new ChordNames {
\set chordRootNamer = #(chord-name-german-markup-text-alteration #t)
\myChords
}
}
%%%
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On Fri, Sep 25, 2009 at 07:36:21PM +0100, Anthony W. Youngman wrote: For the record, does he also want you to use the old Novello backwards eighth-note rest for quarter rests? I mean, that was also the common practice since Bach — but people [wisely] decided that a *real* quarter rest is less confusing to read. Is that a Novello thing? I still meet it quite a lot in old parts, especially marches. It's probably a BH thing as well. It's not THAT hard, once the shock of hitting the things has worn off :-) I play a lot of marches, but I can't recall ever seeing a BH one with those old-style rests. BTW, the first time I saw a part and immediately thought, Oh, this is a BH one, without looking at the publisher written at the bottom, I realised I was becoming an engraving nerd. -- Unless obstructed through environmental noise or great distance, holler- ing can be used to request line discipline from the link partner in State Idle. The use of cellphones is also an option, whereas throwing objects or using guns is not recommended.RFC 4824 signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
Am 2009-09-25 um 22:54 schrieb James E. Bailey: Just, pretty please: Could someone tell me how to get chord names with -is and -es (saying fis and not f#)? Or of course point me to the appropriate chapter of the docs. Section 2.7.2, Displaying chords under Customizing chord names Of course I read this page several times before, but the information I need isn't there. I.e. there isn't any switch or simple setting, but I seem to be forced to write my own chordRootNamer in Scheme, what I don't understand. Thank you, Carl, for your code; I hope I'll manage to combine that somehow with Thomas' lowercase minor chords (or perhaps they don't even conflict?) Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On 9/25/09 5:36 PM, fiëé visuëlle fiee.visue...@gmx.net wrote: Am 2009-09-25 um 22:54 schrieb James E. Bailey: Just, pretty please: Could someone tell me how to get chord names with -is and -es (saying fis and not f#)? Or of course point me to the appropriate chapter of the docs. Section 2.7.2, Displaying chords under Customizing chord names Of course I read this page several times before, but the information I need isn't there. I.e. there isn't any switch or simple setting, but I seem to be forced to write my own chordRootNamer in Scheme, what I don't understand. Thank you, Carl, for your code; I hope I'll manage to combine that somehow with Thomas' lowercase minor chords (or perhaps they don't even conflict?) If you'll send me Thomas's lowercase minor chord code I'll be happy to try to make the two work together for you. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
