@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
-@c A menu is needed before every deeper *section nesting of @node's; run
+@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes
-@node Global issues
-@chapter Global issues
+@node Non-musical notation
+@chapter Non-musical notation
This section deals with general lilypond issues, rather than
specific notation.
@menu
* Input files::
-* A single music expression::
* Titles and headers::
-* Paper and pages::
-* Music layout::
-* Multiple movements::
* MIDI output::
+* Displaying LilyPond notation::
+* Skipping corrected music::
@end menu
@menu
* File structure (introduction)::
+* Multiple scores in a book::
+* Extracting fragments of notation::
* File structure::
+* A single music expression::
* Including LilyPond files::
* Text encoding::
@end menu
A basic example of a lilypond input file is
@example
-\version "2.8.0"
+\version "2.9.13"
\score @{
@{ @} % this is a single music expression;
% all the music goes in here.
them all.
+@node Multiple scores in a book
+@subsection Multiple scores in a book
+
+@funindex \book
+@cindex movements, multiple
+
+A document may contain multiple pieces of music and texts. Examples
+of these are an etude book, or an orchestral part with multiple
+movements. Each movement is entered with a @code{\score} block,
+
+@example
+\score @{
+ @var{..music..}
+@}
+@end example
+
+and texts are entered with a @code{\markup} block,
+
+@example
+\markup @{
+ @var{..text..}
+@}
+@end example
+
+@funindex \book
+
+The movements and texts are combined together in a @code{\book} block,
+like
+
+@example
+\book @{
+ \score @{
+ @var{..}
+ @}
+ \markup @{
+ @var{..}
+ @}
+ \score @{
+ @var{..}
+ @}
+@}
+@end example
+
+
+The header for each piece of music can be put inside the @code{\score}
+block. The @code{piece} name from the header will be printed before
+each movement. The title for the entire book can be put inside the
+@code{\book}, but if it is not present, the @code{\header} which is at
+the top of the file is inserted.
+
+@example
+\book @{
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Romanze" @}
+ @}
+ \markup @{
+ ..text of second verse..
+ @}
+ \markup @{
+ ..text of third verse..
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
+@}
+@end example
+
+@node Extracting fragments of notation
+@subsection Extracting fragments of notation
+
+It is possible to quote small fragments of a large score directly from
+the output. This can be compared to clipping a piece of a paper score
+with scissors.
+
+This is done by definining the measures that need to be cut out
+separately. For example, including the following definition
+
+
+@verbatim
+\layout {
+ clip-regions
+ = #(list
+ (cons
+ (make-rhythmic-location 5 1 2)
+ (make-rhythmic-location 7 3 4)))
+}
+@end verbatim
+
+@noindent
+will extract a fragment starting halfway the fifth measure, ending in
+the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
+in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
+
+More clip regions can be defined by adding more pairs of
+rhythmic-locations to the list.
+
+In order to use this feature, LilyPond must be invoked with
+@code{-dclip-systems}. The clips are output as EPS files, and are
+converted to PDF and PNG if these formats are switched on as well.
+
+For more information on output formats, see @ref{Invoking lilypond}.
+
+@seealso
+
+Examples: @inputfileref{input/regression/,clip-systems.ly}
+
+
@node File structure
@subsection File structure
@item
A @code{\header} block. This sets the global header block. This
is the block containing the definitions for book-wide settings, like
-composer, title, etc.
-
-@item
-An @code{\addquote} statement. See @ref{Quoting other voices}
-for more information.
+composer, title, etc.
@item
A @code{\score} block. This score will be collected with other
\header @{ @}
@}
@end example
-
+
This behavior can be changed by setting the variable
@code{toplevel-music-handler} at toplevel. The default handler is
defined in the init file @file{scm/@/lily@/.scm}.
@example
\layout @{
- % movements are non-justified by default
+ % movements are non-justified by default
ragged-right = ##t
@}
\header @{
title = "Do-re-mi"
@}
-
+
@{ c'4 d' e2 @}
@end example
@itemize @bullet
@item @code{\version}
@item @code{\include}
-@item @code{\renameinput}
-@end itemize
+@item @code{\sourcefilename}
+@item @code{\sourcefileline}
+
+@end itemize
+
+
+@node A single music expression
+@subsection A single music expression
+
+A @code{\score} must contain a single music expression. However,
+this music expression may be of any size. Recall that music
+expressions may be included inside other expressions to form
+larger expressions. All of these examples are single music
+expressions; note the curly braces @{ @} or angle brackets <<
+>> at the beginning and ending of the music.
+
+@example
+@{ c'4 c' c' c' @}
+@end example
+
+@lilypond[ragged-right,verbatim,quote]
+{
+ { c'4 c' c' c'}
+ { d'4 d' d' d'}
+}
+@end lilypond
+
+@lilypond[ragged-right,verbatim,quote]
+<<
+ \new Staff { c'4 c' c' c' }
+ \new Staff { d'4 d' d' d' }
+>>
+@end lilypond
+
+@example
+@{
+ \new GrandStaff <<
+ \new StaffGroup <<
+ \new Staff @{ \flute @}
+ \new Staff @{ \oboe @}
+ >>
+ \new StaffGroup <<
+ \new Staff @{ \violinI @}
+ \new Staff @{ \violinII @}
+ >>
+ >>
+@}
+@end example
@node Including LilyPond files
@subsection Including LilyPond files
-@cindex @code{\include}
+@funindex \include
@cindex including files
A large project may be split up into separate files. To refer to another
current working directory are available to \include, but a file of the same
name in LilyPond's installation takes precedence. Files are
available to \include from directories in the search path specified as an
-option when invoking @code{lilypond --include=DIR} which adds DIR to the search
-path.
+option when invoking @code{lilypond --include=DIR} which adds DIR to the
+search path.
The @code{\include} statement can use full path information, but with the Unix
convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
popular modern editors have utf-8 support, for example, vim, Emacs,
jEdit, and GEdit do.
+@c Currently not working
+@ignore
Depending on the fonts installed, the following fragment shows Hebrew
and Cyrillic lyrics,
@cindex Hebrew
@cindex ASCII, non
-@lilypondfile[fontload]{utf-8.ly}
+@li lypondfile[fontload]{utf-8.ly}
The @TeX{} backend does not handle encoding specially at all. Strings
in the input are put in the output as-is. Extents of text items in the
suitable LaTeX wrappers to load appropriate La@TeX{} packages for
interpreting non-ASCII strings.
+@end ignore
+
To use a Unicode escape sequence, use
@example
-@node A single music expression
-@section A single music expression
-
-A @code{\score} must contain a single music expression. However,
-this music expression may be of any size. Recall that music
-expressions may be included inside other expressions to form
-larger expressions. All of these examples are single music
-expressions; note the curly braces @{ @} or angle brackets <<
->> at the beginning and ending of the music.
-
-@example
-@{ c'4 c' c' c' @}
-@end example
-
-@lilypond[ragged-right,verbatim,quote]
-{
- { c'4 c' c' c'}
- { d'4 d' d' d'}
-}
-@end lilypond
-
-@lilypond[ragged-right,verbatim,quote]
-<<
- \new Staff { c'4 c' c' c' }
- \new Staff { d'4 d' d' d' }
->>
-@end lilypond
-
-@example
-@{
- \new GrandStaff <<
- \new StaffGroup <<
- \new Staff @{ \flute @}
- \new Staff @{ \oboe @}
- >>
- \new StaffGroup <<
- \new Staff @{ \violinI @}
- \new Staff @{ \violinII @}
- >>
- >>
-@}
-@end example
-
-
@node Titles and headers
@section Titles and headers
The contents of the titles are taken from the @code{\header} blocks.
The header block for a book supports the following
+
+
@table @code
+@funindex dedication
@item dedication
The dedicatee of the music, centered at the top of the first page.
+@funindex title
@item title
The title of the music, centered just below the dedication.
+@funindex subtitle
@item subtitle
Subtitle, centered below the title.
+@funindex subsubtitle
@item subsubtitle
Subsubtitle, centered below the subtitle.
+@funindex poet
@item poet
Name of the poet, flush-left below the subtitle.
+@funindex composer
@item composer
Name of the composer, flush-right below the subtitle.
+@funindex meter
@item meter
Meter string, flush-left below the poet.
+@funindex opus
@item opus
Name of the opus, flush-right below the composer.
+@funindex arranger
@item arranger
Name of the arranger, flush-right below the opus.
+@funindex instrument
@item instrument
Name of the instrument, centered below the arranger. Also
centered at the top of pages (other than the first page).
+@funindex piece
@item piece
Name of the piece, flush-left below the instrument.
@cindex page breaks, forcing
+@funindex breakbefore
@item breakbefore
This forces the title to start on a new page (set to ##t or ##f).
+@funindex copyright
@item copyright
Copyright notice, centered at the bottom of the first page. To
insert the copyright symbol, see @ref{Text encoding}.
+@funindex tagline
@item tagline
Centered at the bottom of the last page.
\book {
\header {
dedication = "dedicated to me"
- title = \markup \center-align { "Title first line" "Title second line, longer" }
+ title = \markup \center-align { "Title first line" "Title second line,
+longer" }
subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
+ subsubtitle = #(string-append "subsubtitle LilyPond version "
+(lilypond-version))
poet = "Poet"
composer = \markup \center-align { "composer" \small "(1847-1973)" }
texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
- arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
+ meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
+"r" }
+ arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
+#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
instrument = \markup \bold \italic "instrument"
piece = "Piece"
}
{ c'1 }
\header {
piece = "piece1"
- opus = "opus1"
+ opus = "opus1"
}
}
\markup {
{ c'1 }
\header {
piece = "piece2"
- opus = "opus2"
+ opus = "opus2"
}
}
}
@end lilypond
-As demonstrated before, you can use multiple @code{\header} blocks.
-When same fields appear in different blocks, the latter is used.
+As demonstrated before, you can use multiple @code{\header} blocks.
+When same fields appear in different blocks, the latter is used.
Here is a short example.
-@example
+@example
\header @{
composer = "Composer"
@}
}
@end lilypond
-@cindex @code{printallheaders}
+@funindex printallheaders
@noindent
You may change this behavior (and print all the headers when defining
@code{\header} inside @code{\score}) by using
@}
@end example
+@cindex copyright
+@cindex tagline
+
+The default footer is empty, except for the first page, where the
+@code{copyright} field from @code{\header} is inserted, and the last
+page, where @code{tagline} from @code{\header} is added. The default
+tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
+printed parts are good PR for us, so please leave the tagline if you
+can.}
+
+Headers may be completely removed by setting them to false.
+
+@example
+\header @{
+ tagline = ##f
+ composer = ##f
+@}
+@end example
+
@node Custom titles
@subsection Custom titles
@file{ly/titling-init.ly} lists the default layout.
@table @code
-@cindex @code{bookTitleMarkup}
+@funindex bookTitleMarkup
@item bookTitleMarkup
This is the title put over an entire @code{\book} block. Typically,
it has the composer and the title of the piece
-
-@cindex @code{scoreTitleMarkup}
+
+@funindex scoreTitleMarkup
@item scoreTitleMarkup
This is the title put over a @code{\score} block within a
@code{\book}. Typically, it has the name of the movement (@code{piece}
field).
-@cindex @code{oddHeaderMarkup}
+@funindex oddHeaderMarkup
@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
+ This is the page header for odd-numbered pages.
-@cindex @code{evenHeaderMarkup}
+@funindex evenHeaderMarkup
@item evenHeaderMarkup
This is the page header for even-numbered pages. If unspecified,
the odd header is used instead.
By default, headers are defined such that the page number is on the
outside edge, and the instrument is centered.
-@cindex @code{oddFooterMarkup}
+@funindex oddFooterMarkup
@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
-
-@cindex @code{evenFotterMarkup}
+ This is the page footer for odd-numbered pages.
+
+@funindex evenFotterMarkup
@item evenFooterMarkup
This is the page footer for even-numbered pages. If unspecified,
the odd header is used instead.
@end verbatim
-@refbugs
-The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
+@node MIDI output
+@section MIDI output
+
+@cindex Sound
+@cindex MIDI
+
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and controlling digital instruments. A MIDI file is a
+series of notes in a number of tracks. It is not an actual
+sound file; you need special software to translate between the
+series of notes and actual sounds.
+
+Pieces of music can be converted to MIDI files, so you can listen to
+what was entered. This is convenient for checking the music; octaves
+that are off or accidentals that were mistyped stand out very much
+when listening to the MIDI output.
+@refbugs
+Many musically interesting effects, such as swing, articulation,
+slurring, etc., are not translated to midi.
-@node Paper and pages
-@section Paper and pages
+The midi output allocates a channel for each staff, and one for global
+settings. Therefore the midi file should not have more than 15 staves
+(or 14 if you do not use drums). Other staves will remain silent.
-This section deals with the display of music on physical paper.
+Not all midi players correctly handle tempo changes in the midi
+output. Players that are known to work include
+@uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
@menu
-* Paper size::
-* Page formatting::
+* Creating MIDI files::
+* MIDI block::
+* MIDI instrument names::
@end menu
+@node Creating MIDI files
+@subsection Creating MIDI files
-@node Paper size
-@subsection Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
+To create a MIDI from a music piece of music, add a @code{\midi} block
+to a score, for example,
-To change the paper size, there are two commands,
@example
-#(set-default-paper-size "a4")
-\paper @{
- #(set-paper-size "a4")
+\score @{
+ @var{...music...}
+ \midi @{ @}
@}
@end example
-The first command sets the size of all pages. The second command sets the size
-of the pages that the @code{\paper} block applies to -- if the @code{\paper}
-block is at the top of the file, then it will apply to all pages. If the
-@code{\paper} block is inside a @code{\book}, then the paper size will only
-apply to that book.
+FIXME
-Support for the following paper sizes are included by default,
-@code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
-@code{11x17} (also known as tabloid).
-
-Extra sizes may be added by editing the definition for
-@code{paper-alist} in the initialization file @file{scm/paper.scm}.
+The tempo is specified using the @code{\tempo} command. In this
+example the tempo of quarter notes is set to 72 beats per minute.
-@cindex orientation
-@cindex landscape
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
-and wider line widths will be set correspondingly.
+If there is a @code{\midi} command in a @code{\score}, only MIDI will
+be produced. When notation is needed too, a @code{\layout} block must
+be added
@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-Setting the paper size will adjust a number of @code{\paper} variables
-(such as margins). To use a particular paper size with altered
-@code{\paper} variables, set the paper size before setting the variables.
-
-
-@node Page formatting
-@subsection Page formatting
-
-@cindex page formatting
-@cindex margins
-@cindex header, page
-@cindex footer, page
-
-LilyPond will do page layout, set margins, and add headers and
-footers to each page.
-
-The default layout responds to the following settings in the
-@code{\paper} block.
-
-@cindex @code{\paper}
-
-@quotation
-@table @code
-@cindex @code{first-page-number}
-@item first-page-number
-The value of the page number of the first page. Default is@tie{}1.
-
-@cindex @code{printfirst-page-number}
-@item printfirst-page-number
-If set to true, will print the page number in the first page. Default is
-false.
-
-@cindex @code{print-page-number}
-@item print-page-number
-If set to false, page numbers will not be printed.
-
-@cindex @code{paper-width}
-@item paper-width
-The width of the page.
-
-@cindex @code{paper-height}
-@item paper-height
-The height of the page.
-
-@cindex @code{top-margin}
-@item top-margin
-Margin between header and top of the page.
-
-@cindex @code{bottom-margin}
-@item bottom-margin
-Margin between footer and bottom of the page.
-
-@cindex @code{left-margin}
-@item left-margin
-Margin between the left side of the page and the beginning of the music.
-
-@cindex @code{line-width}
-@item line-width
-The length of the systems.
-
-@cindex @code{head-separation}
-@item head-separation
-Distance between the top-most music system and the page header.
-
-@cindex @code{foot-separation}
-@item foot-separation
-Distance between the bottom-most music system and the page footer.
-
-@cindex @code{page-top-space}
-Distance from the top of the printable area to the center of the first
-staff. This only works for staves which are vertically small. Big staves
-are set with the top of their bounding box aligned to the top of the
-printable area.
-
-@cindex @code{ragged-bottom}
-@item ragged-bottom
-If set to true, systems will not be spread vertically across the page. This
-does not affect the last page.
-
-This should be set to true for pieces that have only two or three
-systems per page, for example orchestral scores.
-
-@cindex @code{ragged-last-bottom}
-@item ragged-last-bottom
-If set to false, systems will be spread vertically to fill the last page.
-
-Pieces that amply fill two pages or more should have this set to
-true.
-
-@cindex @code{system-count}
-@item system-count
-This variable, if set, specifies into how many lines a score should be
-broken.
-
-@cindex @code{between-system-space}
-@item between-system-space
-This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system
-and the center of the top staff of the next system.
-
-Increasing this will provide a more even appearance of the page at the
-cost of using more vertical space.
-
-@cindex @code{between-system-padding}
-@item between-system-padding
-This dimension is the minimum amount of white space that will always
-be present between the bottom-most symbol of one system, and the
-top-most of the next system.
-
-Increasing this will put systems whose bounding boxes almost touch
-farther apart.
-
-
-@cindex @code{horizontal-shift}
-@item horizontal-shift
-All systems (including titles and system separators) are shifted by
-this amount to the right. Page markup, such as headers and footers are
-not affected by this. The purpose of this variable is to make space
-for instrument names at the left.
-
-@cindex @code{after-title-space}
-@item after-title-space
-Amount of space between the title and the first system.
-
-@cindex @code{after-title-space}
-@item before-title-space
-Amount of space between the last system of the previous piece and the
-title of the next.
-
-@cindex @code{between-title-space}
-@item between-title-space
-Amount of space between consecutive titles (e.g., the title of the
-book and the title of a piece).
-
-@cindex @code{printallheaders}
-@item printallheaders
-Setting this to #t will print all headers for each \score in a
-\book. Normally only the piece and opus \headers are printed.
-
-@cindex @code{systemSeparatorMarkup}
-@item systemSeparatorMarkup
-This contains a markup object, which will be inserted between
-systems. This is often used for orchestral scores.
-
-The markup command @code{\slashSeparator} is provided as a sensible
-default, for example
-
-@lilypond[ragged-right]
-\paper {
- systemSeparatorMarkup = \slashSeparator
-}
-
-\relative { c1 \break c1 }
-@end lilypond
-
-
-@end table
-@end quotation
-
-Example:
-
-@example
-\paper@{
- paper-width = 2\cm
- top-margin = 3\cm
- bottom-margin = 3\cm
- ragged-last-bottom = ##t
-@}
-@end example
-
-You can also define these values in Scheme. In that case @code{mm},
-@code{in}, @code{pt}, and @code{cm} are variables defined in
-@file{paper-defaults.ly} with values in millimeters. That's why the
-value has to be multiplied in the example
-
-@example
-\paper @{
- #(define bottom-margin (* 2 cm))
-@}
-@end example
-
-@cindex copyright
-@cindex tagline
-
-The default footer is empty, except for the first page, where the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-The header and footer are created by the functions @code{make-footer}
-and @code{make-header}, defined in @code{\paper}. The default
-implementations are in @file{scm/@/page@/-layout@/.scm}.
-
-The page layout itself is done by two functions in the
-@code{\paper} block, @code{page-music-height} and
-@code{page-make-stencil}. The former tells the line-breaking algorithm
-how much space can be spent on a page, the latter creates the actual
-page given the system to put on it.
-
-
-@refbugs
-
-The option right-margin is defined but doesn't set the right margin
-yet. The value for the right margin has to be defined adjusting the
-values of @code{left-margin} and @code{line-width}.
-
-The default page header puts the page number and the @code{instrument}
-field from the @code{\header} block on a line.
-
-
-
-@node Music layout
-@section Music layout
-
-This section deals with the manner in which the music is printed
-within the boundaries defined by the @code{\paper} block.
-
-The global paper layout is determined by three factors: the page layout, the
-line breaks, and the spacing. These all influence each other. The
-choice of spacing determines how densely each system of music is set.
-This influences where line breaks are chosen, and thus ultimately, how
-many pages a piece of music takes.
-
-Globally spoken, this procedure happens in three steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combinations are tried, and the one with the
-best results -- a layout that has uniform density and requires as
-little stretching or cramping as possible -- is chosen.
-
-After spacing and linebreaking, the systems are distributed across
-pages, taking into account the size of the page, and the size of the
-titles.
-
-@menu
-* Setting global staff size::
-* Selecting notation font size::
-* Score layout::
-* Vertical spacing::
-* Vertical spacing of piano staves::
-* Horizontal spacing::
-* Line length::
-* Line breaking::
-* Page breaking::
-@end menu
-
-
-@node Setting global staff size
-@subsection Setting global staff size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{layout} file
-
-To set the global staff size, use @code{set-global-staff-size}.
-
-@example
-#(set-global-staff-size 14)
-@end example
-
-@noindent
-This sets the global default size to 14pt staff height and scales all
-fonts accordingly.
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at a smaller size
-the font becomes heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@quotation
-@multitable @columnfractions .15 .2 .22 .2
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 20
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
-
-@item feta26
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material?
-
-@end multitable
-@end quotation
-
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune the size for individual
-staves. The sizes of individual staves are relative to the global size.
-
-@example
-
-@end example
-
-@seealso
-
-This manual: @ref{Selecting notation font size}.
-
-
-@node Selecting notation font size
-@subsection Selecting notation font size
-
-The easiest method of setting the font size of any context, is by
-setting the @code{fontSize} property.
-
-@lilypond[quote,fragment,relative=1,verbatim]
-c8
-\set fontSize = #-4
-c f
-\set fontSize = #3
-g
-@end lilypond
-
-@noindent
-It does not change the size of variable symbols, such as beams or
-slurs.
-
-Internally, the @code{fontSize} context property will cause the
-@code{font-size} property to be set in all layout objects. The value
-of @code{font-size} is a number indicating the size relative to the
-standard size for the current staff height. Each step up is an
-increase of approximately 12% of the font size. Six steps is exactly a
-factor two. The Scheme function @code{magstep} converts a
-@code{font-size} number to a scaling factor.
-
-@lilypond[quote,fragment,relative=1,verbatim]
-c8
-\override NoteHead #'font-size = #-4
-c f
-\override NoteHead #'font-size = #3
-g
-@end lilypond
-
-LilyPond has fonts in different design sizes. The music fonts for
-smaller sizes are chubbier, while the text fonts are relatively wider.
-Font size changes are achieved by scaling the design size that is
-closest to the desired size. The standard font size (for
-@code{font-size} equals 0), depends on the standard staff height. For
-a 20pt staff, a 10pt font is selected.
-
-The @code{font-size} property can only be set on layout objects that
-use fonts. These are the ones supporting the
-@internalsref{font-interface} layout interface.
-
-@refcommands
-
-The following commands set @code{fontSize} for the current voice:
-
-@cindex @code{\tiny}
-@code{\tiny},
-@cindex @code{\small}
-@code{\small},
-@cindex @code{\normalsize}
-@code{\normalsize}.
-
-
-@node Score layout
-@subsection Score layout
-
-@cindex @code{\layout}
-
-While @code{\paper} contains settings that relate to the page formatting
-of the whole document, @code{\layout} contains settings for score-specific
-layout.
-
-@example
-\layout @{
- indent = 2.0\cm
- \context @{ \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6)
- @}
- \context @{ \Voice
- \override TextScript #'padding = #1.0
- \override Glissando #'thickness = #3
- @}
-@}
-@end example
-
-
-@seealso
-
-This manual: @ref{Changing context default settings}
-
-
-@node Vertical spacing
-@subsection Vertical spacing
-
-@cindex vertical spacing
-@cindex distance between staves
-@cindex staff distance
-@cindex between staves, distance
-@cindex staves per page
-@cindex space between staves
-
-The height of each system is determined automatically. To prevent
-systems from bumping into each other, some minimum distances are set.
-By changing these, you can put staves closer together, and thus put
-more systems onto one page.
-
-Normally staves are stacked vertically. To make staves maintain a
-distance, their vertical size is padded. This is done with the
-property @code{minimum-Y-extent}. When applied to a
-@internalsref{VerticalAxisGroup}, it controls the size of a horizontal
-line, such as a staff or a line of lyrics. @code{minimum-Y-extent}
-takes a pair of numbers, so
-if you want to make it smaller than its default @code{#'(-4 . 4)}
-then you could set
-
-@example
-\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
-@end example
-
-@noindent
-This sets the vertical size of the current staff to 3 staff spaces on
-either side of the center staff line. The value @code{(-3 . 3)} is
-interpreted as an interval, where the center line is the 0, so the
-first number is generally negative. The staff can be made larger at
-the bottom by setting it to @code{(-6 . 4)}.
-
-The spacing of staves in a system may also be tuned per system. This is
-done with the command
-
-@example
-\overrideProperty
-#"Score.NonMusicalPaperColumn"
-#'line-break-system-details
-#'((alignment-extra-space . 15))
-@end example
-
-@noindent
-at the line break before the system to be changed. The distance
-@code{15} is distributed over all staves that have a fixed distance
-alignment. For example,
-
-@lilypond[ragged-right, fragment, relative=2, staffsize=13]
-\new StaffGroup <<
- \new Staff {
- c1\break
-
- \overrideProperty
- #"Score.NonMusicalPaperColumn"
- #'line-break-system-details
- #'((fixed-alignment-extra-space . 15))
-
- c\break
- }
- \new Staff { c c }
->>
-@end lilypond
-
-The distance for @code{alignment-extra-space} may also be negative.
-
-
-To change the amount of space between systems, use
-@code{between-system-space}. A score with only one staff is still
-considered to have systems, so setting @code{between-system-space} will
-be much more useful than changing @code{minimum-Y-extent} of a Staff
-context.
-
-@example
-\paper @{
- between-system-space = 10\mm
-@}
-@end example
-
-If you simply want to tell LilyPond ``fit as much as possible onto
-these pages, then expand to fill any available space on the pages,''
-then use the following
-
-@example
-\paper @{
- between-system-padding = #1
- ragged-bottom=##f
- ragged-last-bottom=##f
-@}
-@end example
-
-
-@c let's wait for a some comments before writing more.
-
-The vertical spacing on a page can also be changed for each system individually.
-Some examples are found in the example file
-@inputfileref{input/regression/,page-spacing.ly}.
-
-When setting @code{annotatespacing} in the @code{\paper} block LilyPond
-will graphically indicate the dimensions of properties that may be set
-for page spacing,
-
-@lilypond[verbatim]
-#(set-default-paper-size "a7" 'landscape)
-\paper { annotatespacing = ##t }
-{ c4 }
-@end lilypond
-
-@noindent
-All units dimensions are measured in staff spaces. The pairs
-(@var{a},@var{b}) are intervals, where @var{a} is the lower edge and
-@var{b} the upper edge of the interval.
-
-@seealso
-
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object. The context parameters
-specifying the vertical extent are described in connection with
-the @internalsref{Axis_group_engraver}.
-
-Example files: @inputfileref{input/regression/,page-spacing.ly},
-@inputfileref{input/regression/,alignment-vertical-spacing.ly}.
-
-
-
-
-@node Vertical spacing of piano staves
-@subsection Vertical spacing of piano staves
-
-The distance between staves of a @internalsref{PianoStaff} cannot be
-computed during formatting. Rather, to make cross-staff beaming work
-correctly, that distance has to be fixed beforehand.
-
-The distance of staves in a @code{PianoStaff} is set with the
-@code{forced-distance} property of the
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}.
-
-It can be adjusted as follows
-@example
-\new PianoStaff \with @{
- \override VerticalAlignment #'forced-distance = #7
-@} @{
- ...
-@}
-@end example
-
-@noindent
-This would bring the staves together at a distance of 7 staff spaces,
-measured from the center line of each staff.
-
-The difference is demonstrated in the following example,
-@lilypond[quote,verbatim]
-\relative c'' <<
- \new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
- } <<
- \new Staff { c1 }
- \new Staff { c }
- >>
- \new PianoStaff <<
- \new Staff { c }
- \new Staff { c }
- >>
->>
-@end lilypond
-
-
-It is also possible to change the distance between for each system
-individually. This is done by including the command
-
-@example
-\overrideProperty
-#"Score.NonMusicalPaperColumn"
-#'line-break-system-details
-#'((fixed-alignment-extra-space . 15))
-@end example
-
-@noindent
-at the line break before the system to be changed. The distance
-@code{15} is distributed over all staves that have a fixed distance
-alignment. For example,
-
-@lilypond[ragged-right, fragment, relative=2, staffsize=13]
-\new PianoStaff <<
- \new Staff {
- c1\break
-
- \overrideProperty
- #"Score.NonMusicalPaperColumn"
- #'line-break-system-details
- #'((fixed-alignment-extra-space . 15))
-
- c\break
- }
- \new Staff { c c }
->>
-@end lilypond
-
-The distance for @code{fixed-alignment-extra-space} may also be
-negative.
-
-@seealso
-
-Example files: @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
-
-@node Horizontal spacing
-@subsection Horizontal Spacing
-
-The spacing engine translates differences in durations into stretchable
-distances (``springs'') of differring lengths. Longer durations get
-more space, shorter durations get less. The shortest durations get a
-fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
-object). The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@code{spacing-increment}) of space to the note.
-
-For example, the following piece contains lots of half, quarter, and
-8th notes; the eighth note is followed by 1 note head width (NHW).
-The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
-
-@lilypond[quote,fragment,verbatim,relative=1]
-c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{spacing-increment} is set to 1.2 staff space, which is
-approximately the width of a note head, and
-@code{shortest-duration-space} is set to 2.0, meaning that the
-shortest note gets 2.4 staff space (2.0 times the
-@code{spacing-increment}) of horizontal space. This space is counted
-from the left edge of the symbol, so the shortest notes are generally
-followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32nd note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 1 NHW to every note. To prevent this, the shortest
-duration for spacing is not the shortest note in the score, but rather
-the one which occurs most frequently.
-
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common shortest
-duration is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-an 8th note. The shortest duration is printed when you run
-@code{lilypond} with the @code{--verbose} option.
-
-These durations may also be customized. If you set the
-@code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
-this sets the base duration for spacing. The maximum duration for this
-base (normally an 8th), is set through @code{base-shortest-duration}.
-
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
-
-Notes that are even shorter than the common shortest note are
-followed by a space that is proportional to their duration relative to
-the common shortest note. So if we were to add only a few 16th notes
-to the example above, they would be followed by half a NHW:
-
-@lilypond[quote,fragment,verbatim,relative=2]
-c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-
-In the introduction (see @ref{Engraving}), it was explained that stem
-directions influence spacing. This is controlled with the
-@code{stem-spacing-correction} property in the
-@internalsref{NoteSpacing}, object. These are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated in @internalsref{Staff} context) contains the same property
-for controlling the stem/bar line spacing. The following example shows
-these corrections, once with default settings, and once with
-exaggerated corrections:
-
-@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
- \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
-}
-@end lilypond
-
-Proportional notation is supported; see @ref{Proportional notation}.
-
-By default, spacing in tuplets depends on various non-duration
-factors (such as accidentals, clef changes, etc). To disregard
-such symbols and force uniform equal-duration spacing, use
-@code{Score.SpacingSpanner #'uniform-stretching}. This
-property can only be changed at the beginning of a score,
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\new Score \with {
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new Staff{
- \times 4/5 {
- c8 c8 c8 c8 c8
- }
- c8 c8 c8 c8
- }
- \new Staff{
- c8 c8 c8 c8
- \times 4/5 {
- c8 c8 c8 c8 c8
- }
- }
->>
-@end lilypond
-
-
-When @code{strict-note-spacing} is set, notes are spaced without
-regard for clefs, bar lines, and grace notes,
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\override Score.SpacingSpanner #'strict-note-spacing = ##t
-\new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
-@end lilypond
-
-
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
-
-@refbugs
-
-Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) halfway during the
-score, the part containing the longer durations will be spaced too
-widely.
-
-There is no convenient mechanism to manually override spacing. The
-following work-around may be used to insert extra space into a score.
-@example
- \once \override Score.SeparationItem #'padding = #1
-@end example
-
-No work-around exists for decreasing the amount of space.
-
-
-@node Line length
-@subsection Line length
-
-@cindex page breaks
-@cindex breaking pages
-
-@cindex @code{indent}
-@cindex @code{line-width}
-@cindex @code{ragged-right}
-@cindex @code{ragged-last}
-
-@c Although line-width can be set in \layout, it should be set in paper
-@c block, to get page layout right.
-@c Setting indent in \paper block makes not much sense, but it works.
-
-@c Bit verbose and vague, use examples?
-The most basic settings influencing the spacing are @code{indent} and
-@code{line-width}. They are set in the @code{\layout} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
-
-If @code{ragged-right} is set to true in the @code{\layout} block, then
-systems ends at their natural horizontal length, instead of being spread
-horizontally to fill the whole line. This is useful for
-short fragments, and for checking how tight the natural spacing is.
-
-@cindex page layout
-@cindex vertical spacing
-
-The option @code{ragged-last} is similar to @code{ragged-right}, but
-only affects the last line of the piece. No restrictions are put on
-that line. The result is similar to formatting text paragraphs. In a
-paragraph, the last line simply takes its natural horizontal length.
-@c Note that for text there are several options for the last line.
-@c While Knuth TeX uses natural length, lead typesetters use the same
-@c stretch as the previous line. eTeX uses \lastlinefit to
-@c interpolate between both these solutions.
-
-@example
-\layout @{
- indent = #0
- line-width = #150
- ragged-last = ##t
-@}
-@end example
-
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen so
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
-@example
-<< \repeat unfold 7 @{
- s1 \noBreak s1 \noBreak
- s1 \noBreak s1 \break @}
- @emph{the real music}
->>
-@end example
-
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
-
-@code{\break}, and @code{\noBreak}.
-@cindex @code{\break}
-@cindex @code{\noBreak}
-
-@seealso
-
-Internals: @internalsref{BreakEvent}.
-
-A linebreaking configuration can now be saved as a @code{.ly} file
-automatically. This allows vertical alignments to be stretched to
-fit pages in a second formatting run. This is fairly new and
-complicated; see @inputfileref{input/regression/,page-layout-twopass.ly}
-for details.
-
-@refbugs
-
-Line breaks can only occur if there is a ``proper'' bar line. A note
-which is hanging over a bar line is not proper, such as
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-c4 c2 c2 \break % this does nothing
-c2 c4 | % a break here would work
-c4 c2 c4 ~ \break % as does this break
-c4 c2 c4
-@end lilypond
-
-
-@node Page breaking
-@subsection Page breaking
-
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
-analogous to @code{\break} and @code{\noBreak}. They should be
-inserted at a bar line. These commands force and forbid a page-break
-from happening. Of course, the @code{\pageBreak} command also forces
-a line break.
-
-Page breaks are computed by the @code{page-breaking} function in the
-@code{\paper} block.
-
-To force a new page for a new piece (in a collection of pieces or a
-piece in several movements), use @code{breakbefore} in the header.
-
-@example
-\header@{
- breakbefore = ##t
- piece = ""
-@}
-@end example
-
-@refcommands
-
-@cindex @code{\pageBreak}
-@code{\pageBreak}
-@cindex @code{\noPageBreak}
-@code{\noPageBreak}
-
-
-@refbugs
-
-The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
-
-
-
-@node Multiple movements
-@section Multiple movements
-
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Music engraving by LilyPond
-
-A document may contain multiple pieces of music and texts. Examples
-of these are an etude book, or an orchestral part with multiple
-movements. Each movement is entered with a @code{\score} block,
-
-@example
-\score @{
- @var{..music..}
-@}
-@end example
-
-and texts are entered with a @code{\markup} block,
-
-@example
-\markup @{
- @var{..text..}
-@}
-@end example
-
-@cindex @code{\book}
-
-The movements and texts are combined together in a @code{\book} block,
-like
-
-@example
-\book @{
- \score @{
- @var{..}
- @}
- \markup @{
- @var{..}
- @}
- \score @{
- @var{..}
- @}
-@}
-@end example
-
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
-
-@cindex Engraved by LilyPond
-@cindex signature line
-
-@example
-\book @{
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- @}
- \score @{
- @dots{}
- \header @{ piece = "Romanze" @}
- @}
- \markup @{
- ..text of second verse..
- @}
- \markup @{
- ..text of third verse..
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
-
-
-
-@node MIDI output
-@section MIDI output
-
-@cindex Sound
-@cindex MIDI
-
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is a
-series of notes in a number of tracks. It is not an actual
-sound file; you need special software to translate between the
-series of notes and actual sounds.
-
-Pieces of music can be converted to MIDI files, so you can listen to
-what was entered. This is convenient for checking the music; octaves
-that are off or accidentals that were mistyped stand out very much
-when listening to the MIDI output.
-
-@refbugs
-
-Many musically interesting effects, such as swing, articulation,
-slurring, etc., are not translated to midi.
-
-The midi output allocates a channel for each staff, and one for global
-settings. Therefore the midi file should not have more than 15 staves
-(or 14 if you do not use drums). Other staves will remain silent.
-
-Not all midi players correctly handle tempo changes in the midi
-output. Players that are known to work include
-@uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
-
-@menu
-* Creating MIDI files::
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-@node Creating MIDI files
-@subsection Creating MIDI files
-
-To create a MIDI from a music piece of music, add a @code{\midi} block
-to a score, for example,
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
-@}
-@end example
-
-The tempo is specified using the @code{\tempo} command. In this
-example the tempo of quarter notes is set to 72 beats per minute.
-
-
-If there is a @code{\midi} command in a @code{\score}, only MIDI will
-be produced. When notation is needed too, a @code{\layout} block must
-be added
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
- \layout @{ @}
-@}
-@end example
-@cindex layout block
+\score @{
+ @var{...music...}
+ \midi @{ @}
+ \layout @{ @}
+@}
+@end example
+@cindex layout block
The MIDI block is analogous to the layout block, but it is somewhat
-simpler. The @code{\midi} block can contain
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition, and
- @item context definitions.
-@end itemize
-
-A number followed by a period is interpreted as a real number, so
-for setting the tempo for dotted notes, an extra space should be
-inserted, for example
-
-@example
-\midi @{ \tempo 4 . = 120 @}
-@end example
+simpler. The @code{\midi} block is similar to @code{\layout}. It can contain
+context definitions.
@cindex context definition
@subsection MIDI instrument names
@cindex instrument names
-@cindex @code{Staff.midiInstrument}
+@funindex Staff.midiInstrument
The MIDI instrument name is set by the @code{Staff.midiInstrument}
property. The instrument name should be chosen from the list in
the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
instrument is used.
+
+@c Yes, this is a cop-out; this info doesn't belong in the Scheme
+@c chapter, but I'm not certain where to stick it.
+@c I think I'll eventually split this chapter into a "paper/layout"
+@c chapter and a "misc issues" chapter. -gp
+@node Displaying LilyPond notation
+@section Displaying LilyPond notation
+
+@funindex \displayLilyMusc
+Displaying a music expression in LilyPond notation can be
+done using the music function @code{\displayLilyMusic}. For example,
+
+@example
+@{
+ \displayLilyMusic \transpose c a, @{ c e g a bes @}
+@}
+@end example
+
+will display
+
+@example
+@{ a, cis e fis g @}
+@end example
+
+By default, LilyPond will print these messages to the console along
+with all the other messages. To split up these messages and save
+the results of @code{\display@{STUFF@}}, redirect the output to
+a file.
+
+@example
+lilypond file.ly >display.txt
+@end example
+
+
+@node Skipping corrected music
+@section Skipping corrected music
+
+
+@funindex skipTypesetting
+@funindex showLastLength
+
+When entering or copying music, usually only the music near the end (where
+you
+are adding notes) is interesting to view and correct. To speed up
+this correction process, it is possible to skip typesetting of all but
+the last few measures. This is achieved by putting
+
+@verbatim
+showLastLength = R1*5
+\score { ... }
+@end verbatim
+
+@noindent
+in your source file. This will render only the last 5 measures
+(assuming 4/4 time signature) of every @code{\score} in the input
+file. For longer pieces, rendering only a small part is often an order
+of magnitude quicker than rendering it completely
+
+Skipping parts of a score can be controlled in a more fine-grained
+fashion with the property @code{Score.skipTypesetting}. When it is
+set, no typesetting is performed at all.
+
+This property is also used to control output to the MIDI file. Note that
+it skips all events, including tempo and instrument changes. You have
+been warned.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ c8 d
+ \set Score.skipTypesetting = ##t
+ e e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c d b bes a g c2 }
+@end lilypond
+
+In polyphonic music, @code{Score.skipTypesetting} will affect all
+voices and staves, saving even more time.
+
+
+
projects / lilypond.git / blobdiff