@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
@c TODO:
@c * more details about running lilypond; error messages,
@node Tutorial
@chapter Tutorial
-This tutorial starts with a short introduction to the LilyPond music
-language. After this first contact we will show you how to produce
-printed output. Then you will be able to create and print your own
-sheets of music.
+This tutorial starts with an introduction to the LilyPond music
+language and how to produce printed music. After this first contact we
+will explain how to create common musical notation.
@ifhtml
Many people learn programs by trying and fiddling around with the
@end lilypond
@end ifhtml
-By cutting and pasting the full input into a test file, you have a
+By cutting and pasting everything from the @qq{Start cut-&-pastable section},
+to the end of the file, you have a
starting template for experiments. If you like learning in this way,
you will probably want to print out or bookmark
@ifhtml
the
@end ifhtml
-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.
@menu
-* First steps::
-* Running LilyPond for the first time::
+* First steps (compiling a file)::
+* Simple notation::
+* Working on text files::
* More about pitches::
* Entering ties::
* Automatic and manual beams::
* More staves::
* Adding articulation marks to notes::
* Combining notes into chords::
-* Advanced rhythmic commands::
+* Advanced rhythmic commands::
* Commenting input files::
* Printing lyrics::
* A lead sheet::
* Piano staves::
* Organizing larger pieces::
* An orchestral part::
+* After the tutorial::
@end menu
-@node First steps
-@section First steps
+@node First steps (compiling a file)
+@section First steps (compiling a file)
-The first example demonstrates how to enter the most elementary piece
-of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
-name, from @samp{a} through @samp{g}. So, if you enter
+The first example demonstrates how to start working with LilyPond. To
+create sheet music, we write a text file that specifies the
+notation. For example, if we write
@example
@{
-c d e f g a b
+ c' e' g' e'
@}
@end example
@noindent
the result looks like this
-@lilypond[fragment,quote,notime,relative=1]
-c d e f g a b
+@lilypond[quote,ragged-right]
+{
+ c' e' g' e'
+}
@end lilypond
-Every piece of LilyPond input needs to have @{curly braces@} placed
-around the input. For the rest of this manual, most examples will
-omit these braces, but don't forget them in your own music!
-
-In addition, many examples use @code{relative} mode. This is explained
-in @ref{Octave entry}; for now simply be aware that some examples
-should be placed inside @code{\relative @{ @emph{...music...} @}}
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input. The braces should be also be
+surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities. These may be omitted in some examples in this
+manual, but don't forget them in your own music!
@cindex Case sensitive
-Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
-valid input; @code{ @{ C D E @} } will produce an error message.
-
-The @rglos{duration} of a note is specified by a number after the note
-name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
-@samp{4} for a @rglos{quarter note} and so on
-
-@example
-a1 a2 a4 a16 a32
-@end example
-
-@lilypond[fragment,quote,notime,relative=2]
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
-
-If you do not specify a duration, the duration last entered is used
-for the next notes. The duration of the first note in input defaults
-to a quarter
-
-@example
-a a8 a a2 a
-@end example
-
-@lilypond[fragment,quote,notime,relative=2]
-{ a a8 a a2 a s16_" " }
-@end lilypond
-
-
-A @rglos{rest} is entered just like a note, but with the name @samp{r}
+In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
-@example
-r2 r4 r8 r16
-@end example
-
-@lilypond[fragment,quote,notime]
-r2 r4 r8 r16 s16_" "
-@end lilypond
-
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+@sp 1
-@example
-a2. a4 a8. a16
-@end example
+@unnumberedsubsec Entering music and viewing output
-@lilypond[fragment,quote,notime,relative=1]
-{ a2. a4 a8. a16 s16_" " }
-@end lilypond
+In this section we will explain what commands to run
+and how to view or print the output.
-The (or @rglos{time signature}) can be set with the @code{\time}
-command
-
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
-
-@c A clef here may lead to confusion, remove it.
-@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
-@end lilypond
-
-The @rglos{clef} can be set using the @code{\clef} command
-
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
-
-@lilypond[fragment,quote,notime]
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
-@end lilypond
-
-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-
-@c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
-@lilypond[fragment,quote,noindent,verbatim]
-\time 3/4
-\clef bass
-c2 e4 g2.
-f4 e d c2 r4
-@end lilypond
-
-For more information on
-
-@quotation
-@table @asis
-@item Entering pitches and durations
-see
-@ref{Pitches}, and @ref{Durations}.
-@item Clefs
-see @ref{Clef}.
-@item Rests
-see @ref{Rests}.
-@item Time signatures and other timing commands
-see @ref{Time signature}.
-@end table
-@end quotation
-
-
-@node Running LilyPond for the first time
-@section Running LilyPond for the first time
-
-@c cheesy title to avoid clash with chapter name.
-
-In the last section we explained what kind of things you can enter in
-a LilyPond file. In this section we will explain what commands to run
-and how to view or print the output. If you have not used LilyPond
-before, want to test your setup, or want to run an example file
-yourself, read this section.
-
-@unnumberedsubsec MacOS X
+@unnumberedsubsubsec MacOS X
If you double click LilyPond.app, it will open with an example
file. Save it, for example, to @file{test.ly} on your Desktop, and
then process it with the menu command @samp{Compile > Typeset File}.
The resulting PDF file will be displayed on your screen.
-Be warned that the first-ever run will take a minute or two, because
-all of the system fonts have to be analyzed first.
+Be warned that the first time you ever run lilypond will take a minute
+or two because all of the system fonts have to be analyzed first.
-@unnumberedsubsec Windows
+For future use of LilyPond, you should begin by selecting "New"
+or "Open".
+
+@unnumberedsubsubsec Windows
On Windows, start up a text-editor@footnote{Any simple or
-programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, since these insert formatting codes that will confuse
-LilyPond.} and enter
+programmer-oriented editor with UTF-8 support will do, for example
+Notepad. Do not use a word processor, since these insert formatting
+codes that will confuse LilyPond.} and enter
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
Save it on the desktop as @file{test.ly} and make sure that it is not
called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
the file and show the resulting PDF file.
-@unnumberedsubsec Unix
+@unnumberedsubsubsec Unix
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
-@code{joe}.@footnote{There are macro files for VIM addicts, and there
+@code{joe}@footnote{There are macro files for VIM addicts, and there
is a @code{LilyPond-mode} for Emacs addicts. If they have not been
-installed already, refer to the file @file{INSTALL.txt}.} In your
+installed already, refer to the file @file{INSTALL.txt}. These
+easiest editing environment is @file{LilyPondTool}. See
+@ref{Editor support} for more information.}. In your
text editor, enter the following input and save the file as
@file{test.ly}
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
@noindent
To process @file{test.ly}, proceed as follows
@example
lilypond test.ly
-GNU LilyPond 2.6.0
+GNU LilyPond 2.10.0
Processing `test.ly'
Parsing...
Interpreting music... [1]
-Preprocessing graphical objects...
+Preprocessing graphical objects...
Calculating line breaks... [2]
Layout output to `test.ps'...
Converting to `test.pdf'...
@end example
-@cindex DVI file
+@cindex PDF file
@cindex Viewing music
-@cindex xdvi
+
@noindent
The result is the file @file{test.pdf} which you can print or view
with the standard facilities of your operating system.@footnote{If
@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
available package for viewing and printing PDF and PostScript files.}
+
+@node Simple notation
+@section Simple notation
+
+LilyPond will add some notation elements automatically. In the next
+example, we have only specified four pitches, but LilyPond has
+added a clef, time signature, and rhythms.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
+@end lilypond
+
+@noindent
+This behavior may be altered, but in most cases these automatic values
+are useful.
+
+
+@unnumberedsubsec Pitches
+
+The easiest way to enter notes is by using @code{\relative} mode. In
+this mode, the @rglos{interval} between the previous note and the
+current note is assumed to be within a @rglos{fourth}. We begin by
+entering the most elementary piece of music, a @rglos{scale}.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
+@end lilypond
+
+The initial note is @rglos{middle C}. Each successive note
+is within a fourth of the previous note -- in other words, the first
+@samp{c} is the closest C to middle C. This is followed by the closest
+D to the previous note. We can create melodies which have larger intervals:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
+
+@noindent
+As you may notice, this example does not start on middle C. The first
+note -- the @samp{d} -- is the closest D to middle C.
+
+To add intervals that are larger than a fourth, we can raise the octave
+by adding a single quote @code{'} (or apostrophe) to the note name. We can
+lower the octave by adding a comma @code{,} to the note name.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
+@end lilypond
+
+@noindent
+To change a note by two (or more!) octaves, we use multiple @code{''} or
+@code{,,} -- but be careful that you use two single quotes @code{''} and
+not one double quote @code{"}@tie{}! The initial value in
+@code{\relative c'} may also be modified like this.
+
+
+@unnumberedsubsec Durations (rhythms)
+
+The @rglos{duration} of a note is specified by a number after the note
+name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
+@samp{4} for a @rglos{quarter note} and so on. Beams are added
+automatically.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a1
+ a2 a4 a8 a
+ a16 a a a a32 a a a a64 a a a a a a a a2
+}
+@end lilypond
+
+@noindent
+If you do not specify a duration, the previous duration is used
+for the next note. The duration of the first note defaults to a quarter.
+
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
+@end lilypond
+
+
+@unnumberedsubsec Rests
+
+A @rglos{rest} is entered just like a note with the name @samp{r}:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
+@end lilypond
+
+
+@unnumberedsubsec Time signature
+
+The @rglos{time signature}) can be set with the @code{\time} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
+@end lilypond
+
+
+@unnumberedsubsec Clef
+
+The @rglos{clef} can be set using the @code{\clef} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ \clef treble
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
+}
+@end lilypond
+
+
+@unnumberedsubsec All together
+
+Here is a small example showing all these elements together:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
+@end lilypond
+
+
+@node Working on text files
+@section Working on text files
+
+LilyPond input files are treated like files in most programming languages:
+they are case sensitive, white-space insensitive, and expressions are
+formed with curly braces @{ @}.
+
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
+
+@itemize
+@item
+@strong{Remember:} Every piece of LilyPond input needs to have
+@strong{@{ curly braces @}} placed around the input. The braces should
+be surrounded by
+a space unless they are at the beginning or end of a line to avoid
+ambiguities. For the rest of this manual, most examples will omit
+these braces, but don't forget them in your own music!
+
+@cindex Case sensitive
+@item
+In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
+
+@c End of current re-write; more material coming in a few days. -gp
+@end itemize
+
+
+
@node More about pitches
-@section More about pitches
+@section More about pitches
-A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
-the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, a @rglos{flat} pitch by adding @samp{es}. As
you might expect, a @rglos{double sharp} or @rglos{double flat} is
made by adding @samp{isis} or @samp{eses}@footnote{This syntax
derived from note naming conventions in Nordic and Germanic languages,
@end example
@noindent
-The code @samp{d} does not mean `print a black dot just below the
-staff.' Rather, it means: `a note with pitch D-natural.' In the key
+The code @samp{d} does not mean @qq{print a black dot just below the
+staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key
of A-flat major, it does get an accidental
@lilypond[quote,notime,fragment,relative=1,verbatim]
@node Automatic and manual beams
@section Automatic and manual beams
-@cindex beams, by hand
+@cindex beams, by hand
All @rglos{beam}s are drawn automatically
@lilypond[quote,fragment,relative=2,verbatim]
@c tie) examples...
@c better to have this just before the `octaves are bad' snipped
-@c but we'd need to remove the ', from \key and tie
-To raise a note by an octave, add a high quote @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a `low quote' @code{,}
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
+the note name, to lower a note one octave, add a @q{low quote} @samp{,}
(comma). Middle C is @code{c'}
@lilypond[quote,notime,fragment,verbatim]
\key a \major
\time 6/8
cis''8. d''16 cis''8 e''4 e''8
-b'8. cis''16 b'8 d''4 d''8
+b'8. cis''16 b'8 d''4 d''8
@end lilypond
@noindent
This example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
-solution is to use `relative octave' mode. This is the
+solution is to use @q{relative octave} mode. This is the
most convenient way to copy existing music.
-In relative mode, a note without octavation quotes (i.e. the @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
+In relative mode, a note without octavation quotes (i.e., the @samp{'}
+or @samp{,} after a note) is chosen so that it is closest to the
previous one. For example, @samp{c f} goes up while @samp{c g} goes
down.
In input files, music is represent by so-called @emph{music
-expression}s. We have already seen some in the previous examples;
+expression}s. We have already seen some in the previous examples;
a single note is a music expression
@lilypond[fragment,quote,verbatim,relative=3]
notes
@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
+{ { a4 g } f g }
@end lilypond
This technique is useful for non-monophonic music. To enter music
with more voices or more staves, we also combine expressions in
parallel. Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences. A `simultaneous'
+as a simultaneous combination of two sequences. A @q{simultaneous}
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
two separate notes) are combined simultaneously
LilyPond looks at the first element. If it is a single note, there is one
staff; if there is a simultaneous expression, there is more than one staff.
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
{
c <<c e>>
<< { e f } { c <<b d>> } >>
@end lilypond
-The command @code{\new} introduces a `notation context.' A notation
+The command @code{\new} introduces a @q{notation context.} A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
notation contexts are created automatically. For more complex pieces, it
\relative <<
\new Staff {
\time 3/4
- \clef treble
-
+ \clef treble
+
e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
+ b[ b] g[ g] a2.
}
\new Staff {
\clef bass
A comment is a remark for the human reader of the music input; it is
ignored while parsing, so it has no effect on the printed output.
There are two types of comments. The percent symbol @samp{%}
-introduces a line comment; after @code{%} the rest of the line is
+introduces a line comment; after @samp{%} the rest of the line is
ignored. A block comment marks a whole section of music
input. Anything that is enclosed in @code{%@{} and @code{%@}} is
ignored. The following fragment shows possible uses for comments
are ignored, since they are in a
block comment.
- g g f f e e d d c2
+ g g f f e e d d c2
%@}
@end example
There is a special statement that is a kind of comment. The @code{\version}
statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.6.0, use
+To mark a file for version 2.10.1, use
@example
-\version "2.7.32"
+\version "2.10.1"
@end example
@noindent
@cindex melisma
@cindex extender line
@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})
sung to more than one note. This is indicated with an @emph{extender
line}. It is entered as two underscores, i.e.,
@example
@{ I want to break free __ @}
-@end example
+@end example
@lilypond[fragment,quote,ragged-right]
<<
resulting in a centered hyphen between two syllables
@example
-Twin -- kle twin -- kle
+A -- le gri -- a
@end example
-@lilypond[fragment,quote,ragged-right]
+@c no ragged-right here, because otherwise the hypens get lost.
+@lilypond[fragment,quote]
<<
\relative {
\time 2/4
f4 f c' c
}
- \addlyrics { Twin -- kle twin -- kle }
+ \addlyrics { A -- le gri -- a }
>>
@end lilypond
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
following result.
-
+
@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@lilypond[quote,ragged-right]
<<
- \chords { r2 c:sus4 f }
+ \chords { r2 c:sus4 f }
\relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
the top of the file. For example,
-@example
+@example
\header @{
- title = "Miniature"
+ title = "Miniature"
composer = "Igor Stravinsky"
@}
For polyphonic music typesetting, spacer rests can also be convenient;
these are rests that do not print. They are useful for filling up
voices that temporarily do not play. Here is the same example with a
-spacer rest (@code{s}) instead of a normal rest (@code{r}),
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
@end lilypond
More features of polyphonic typesetting are described in this manual
-in section @ref{Polyphony}.
+in section @ref{Basic polyphony}.
@node Piano staves
>>
@end lilypond
-More information on formatting piano music is given in @ref{Piano music}.
+More information on formatting piano music is given in @ref{Piano music}.
@node Organizing larger pieces
@section Organizing larger pieces
When all of the elements discussed earlier are combined to produce
-larger files, the @code{\score} blocks get a lot bigger, because the
-music expressions are longer, and, in the case of polyphonic pieces,
+larger files, the @code{\score} blocks get a lot bigger because the
+music expressions are longer, and, in the case of polyphonic music,
more deeply nested. Such large expressions can become unwieldy.
By using variables, also known as identifiers, it is possible to break
{ \seufzer \seufzer }
@end lilypond
-The name of an identifier should have alphabetic characters only; no
-numbers, underscores or dashes. The assignment should be outside of
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes. The assignment should be outside of
running music.
It is possible to use variables for many other types of objects in the
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
rest. It is entered with a capital @samp{R} followed by a duration
-(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
+etc.). By multiplying the
duration, longer rests can be constructed. For example, this rest
takes 3@tie{}measures in 2/4 time
@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
- \set Score.skipBars = ##t
+ \set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d
}
@end example
@noindent
-leading to
+leading to
@lilypond[quote,ragged-right]
\relative c <<
More in-depth information on preparing parts and scores can be found
in the notation manual; see @ref{Orchestral music}.
-Setting run-time variables (`properties') is discussed in
+Setting run-time variables (@q{properties}) is discussed in
@ref{Changing context properties on the fly}.
-@ignore
-
-* longer example
+@node After the tutorial
+@section After the tutorial
-* discuss expectations (?)
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Example templates} and
+add notes. If you need any notation that was not covered in the
+tutorial, look at the Notation Reference, starting with
+@ref{Basic notation}. If you want to write for an instrument
+ensemble which is not covered in the @ref{Example templates},
+take a look at @ref{Extending the templates}.
-* conclude tutorial
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-* overview of chapters?
+@ignore
+For more information on
+@q uotation
+@t able @asis
+@i tem Entering pitches and durations
+see
+@r ef{Pitches}, and @ref{Durations}.
+@i tem Clefs
+see @ref{Clef}.
+@i tem Rests
+see @ref{Rests}.
+@i tem Time signatures and other timing commands
+see @ref{Time signature}.
+@e nd table
+@e nd quotation
@end ignore
+
+
projects / lilypond.git / blobdiff