from Francisco Vila.
+2006-05-30 Graham Percival <gpermus@gmail.com>
+
+ * Documentation/user/ various: minor additions from mailist and
+ editing.
+
+2006-05-30 Paco <fravd@ya.com>
+
+ * Documentation/user/music-glossary.tely: numerous corrections and
+ some new translations.
+
2006-05-29 Han-Wen Nienhuys <hanwen@lilypond.org>
* BackportmeStart.
and @code{format-mark-circle-barnumbers} to get bar numbers instead of
incremented numbers or letters.
+The horizontal location of rehearsal marks can be adjusted by
+setting @code{break-align-symbol}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+c1
+\key cis \major
+\clef alto
+\override Score.RehearsalMark #'break-align-symbol = #'key-signature
+\mark "on-key"
+cis
+\key ces \major
+\override Score.RehearsalMark #'break-align-symbol = #'clef
+\clef treble
+\mark "on clef"
+ces
+@end lilypond
+
+@code{break-align-symbol} may also accept the following values:
+@code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
+@code{staff-bar}, @code{left-edge}, @code{key-cancellation},
+@code{key-signature}, and @code{time-signature}. Setting
+@code{break-align-symbol} will only have an effect if the symbol
+appears at that point in the music.
+
@seealso
number itself is stored in the @code{currentBarNumber} property, which
is normally updated automatically for every measure.
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\repeat unfold 4 {c4 c c c} \break
+\set Score.currentBarNumber = #50
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+
+Bar numbers may only be printed at bar lines; to print a bar
+number at the beginning of a piece, an empty bar line must
+be added
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #50
+\bar ""
+\repeat unfold 4 {c4 c c c} \break
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
@lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
-Bar numbers can be manually changed by setting the
-@code{Staff.currentBarNumber} property
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' {
- \repeat unfold 4 {c4 c c c} \break
- \set Score.currentBarNumber = #50
- \repeat unfold 4 {c4 c c c}
-}
-@end lilypond
-
Bar numbers can be removed entirely by removing the Bar number
engraver from the score.
@node Quoting other voices
@subsection Quoting other voices
+@cindex cues
+
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
quotable. This is done with the @code{\addquote} command.
@node Formatting cue notes
@subsection Formatting cue notes
+@cindex cues, formatting
+
The previous section deals with inserting notes from another voice.
There is a more advanced music function called @code{\cueDuring},
which makes formatting cue notes easier.
combination of a backslash followed by one of @code{`}, @code{'},
@code{"}, or @code{^}.
+To define indentifiers containing lyrics, the function @code{lyricmode}
+must be used.
+
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
+
@seealso
@end example
This aligns the lyrics to the
-notes of the @internalsref{Voice} context called @var{name}, which has
-to exist. Therefore, normally the @code{Voice} is specified first, and
+notes of the @internalsref{Voice} context called @var{name}, which must
+already exist. Therefore normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
@code{\lyricmode} keyword may be omitted.
c4 b8. a16 g4. f8 e4 d c2
}
\new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
- \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. }
+ \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
\new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
>>
@end lilypond
The second stanza is not properly aligned because the durations
were not specified. A solution for that would be to use @code{\lyricsto}.
-
-
-
-
-
-To define indentifiers containing lyrics, the function @code{lyricmode}
-must be used.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
The @code{\addlyrics} command is actually just a convenient way
to write a more complicated LilyPond structure that sets up the
lyrics.
* Divisi lyrics::
* Switching the melody associated with a lyrics line::
* Specifying melismata within the lyrics::
+* Lyrics independent of notes::
@end menu
@node Lyrics to multiple notes of a melisma
In this case, you can also have ties and slurs in the melody, if you
set @code{melismaBusyProperties}, as is done in the example above.
-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment,quote]
{
\set melismaBusyProperties = #'()
c d( e) f f( e) e e
@end lilypond
+@node Lyrics independent of notes
+@subsubsection Lyrics independent of notes
+
+In some complex vocal music, it may be desirable to place
+lyrics completely independently of notes. Music defined
+inside @code{lyricrhythm} disappears into the
+@code{Devnull} context, but the rhythms can still be used
+to place the lyrics.
+
+@lilypond[quote,verbatim,ragged-right]
+voice = {
+ c''2
+ \tag #'music { c''2 }
+ \tag #'lyricrhythm { c''4. c''8 }
+ d''1
+}
+
+lyr = \lyricmode { I like my cat! }
+
+<<
+ \new Staff \keepWithTag #'music \voice
+ \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
+ \new Lyrics \lyricsto "nowhere" \lyr
+ \new Staff { c'8 c' c' c' c' c' c' c'
+ c' c' c' c' c' c' c' c' }
+>>
+@end lilypond
+
+
@node Spacing lyrics
@subsection Spacing lyrics
* Showing melody rhythms::
* Entering percussion::
* Percussion staves::
+* Ghost notes::
@end menu
for this purpose instead.
+@c FIXME: check name -gp
+@node Ghost notes
+@subsection Ghost notes
+
+Ghost notes for drums and percussion may be created using the
+@code{\parenthesize} command detailed in @ref{Parentheses}. However,
+the default @code{\drummode} does
+not include the @code{Parenthesis_engraver} plugin which allows
+this. You
+must add the plugin explicitly in the context definition as
+detailed in @ref{Changing context properties on the fly}.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\new DrumStaff \with {
+ \consists "Parenthesis_engraver"
+} <<
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
+ \drummode {
+ <<
+ {
+ hh8[ hh] <hh sn> hh16
+ < \parenthesize sn > hh < \parenthesize
+ sn > hh8 <hh sn> hh
+ } \\ {
+ bd4 r4 bd8 bd r8 bd
+ }
+ >>
+ }
+>>
+@end lilypond
+
+@noindent
+Also note that you must add chords (@code{< >} brackets)
+around each @code{\parenthesize} statement.
+
@node Guitar
@section Guitar
@node accelerando
@section accelerando
-ES: acelerando,
+ES: accelerando,
I: accelerando,
F: accelerando, en accélérant,
D: accelerando, schneller werden,
@node ambit
@section ambit
-ES: ambitus,
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
@node ancient minor scale
@section ancient minor scale
+ES: escala menor antigua
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
@node ascending interval
@section ascending interval
-ES: Intervalo ascendente,
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
@node autograph
@section autograph
+ES: manuscrito,
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
@node bar line
@section bar line
-ES: ?,
+ES: barra, lÃnea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
@node bass
@section bass
+ES: bajo,
I: basso,
F: basse,
D: Bass,
@node beam
@section beam
+ES: barra
I: coda,
F: barre,
D: Balken,
@node beat
@section beat
-ES: tiempo,
+ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
@node breath mark
@section breath mark
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
@node breve
@section breve
-ES: breve,
+ES: cuadrada, breve,
I: breve,
F: brève,
D: Brevis,
@node C clef
@section C clef
-ES: Clave de do,
+ES: clave de do,
I: chiave di do,
F: clé d'ut,
D: C-Schlüssel,
@node comma
@section comma
+ES: coma, comma
I: comma,
F: comma,
D: Komma,
@node complement
@section complement
+ES: intervalo invertido
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
@node cue-notes
@section cue-notes
-ES: notas guia,
+ES: notas guÃa,
I: notine,
F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
@node D
@section D
-ES: Re,
+ES: re,
I: re,
F: ré,
D: D, d,
@node dissonant interval
@section dissonant interval
-ES: intervalo disonante, disonancias,
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
@node dominant ninth chord
@section dominant ninth chord
+ES: acorde de novena de dominante,
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
@node double bar line
@section double bar line
+ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
@node double dotted note
@section double dotted note
-ES: nota con dos puntillos,
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
F: note doublement pointée,
D: doppelt punktierte Note,
@node engraving
@section engraving
-ES: Grabar
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
@node equal temperament
@section equal temperament
-ES: ?,
+ES: temperamento igual,
I: temperamento equabile,
F: tempérament égal,
D: gleichschwebende Stimmung,
@node expression mark
@section expression mark
-ES: ?,
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
@node F clef
@section F clef
-ES: Clave de Fa,
+ES: clave de fa,
I: chiave di fa,
F: clé de fa,
D: F-Schlüssel,
@node G clef
@section G clef
-ES: Clave de sol,
+ES: clave de sol,
I: chiave di sol,
F: clé de sol,
D: G-Schlüssel, Violinschlüssel,
@node grace notes
@section grace notes
-ES: ?,
+ES: mordente,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
@node grand staff
@section grand staff
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
@node half rest
@section half rest
-ES: ?,
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
@node just intonation
@section just intonation
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
@node key signature
@section key signature
-ES: armadura de clave,
+ES: armadura (de la clave),
I: armatura di chiave,
F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
@node legato
@section legato
-ES: ligado,
+ES: legato,
I: legato,
F: legato, lié,
D: legato,
@node lilypond
@section lilypond
-ES: estanque de lilas,
+ES: estanque de nenúfares,
I: stagno del giglio,
F: étang de lis,
UK: lily pond,
@node ligature
@section ligature
+ES: ligadura
+
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
Gregorian chant notation roughly since the 9th century to denote
@node lyrics
@section lyrics
-ES: .,
+ES: letra (de la canción),
I: .,
F: .,
D: Liedtext,
@node meantone temperament
@section meantone temperament
+ES: afinación mesotónica,
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
@node melisma
@section melisma
+ES: melisma,
NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
@node note head
@section note head
-ES: oval,
+ES: cabeza,
I: testa, testina, capocchia,
F: t@^ete de la note,
D: Notenkopf,
@node note value
@section note value
-ES: valor,
+ES: valor (duración),
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
@node quintuplet
@section quintuplet
-ES: quintillo,
+ES: cinquillo,
I: quintina,
F: quintolet,
D: Quintole,
@node ritardando
@section ritardando
-ES: retardando,
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
@node sextuplet
@section sextuplet
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
@node sixteenth rest
@section sixteenth rest
-ES: silencia de semicorchea,
+ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
UK: semiquaver rest,
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
UK: hemidemisemiquaver rest,
@node slur
@section slur
-ES: ligadura,
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
@node solmization
@section solmization
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
@node staccato
@section staccato
-ES: staccato,
+ES: picado (staccato),
I: staccato,
F: staccato, piqué, détaché,
D: Staccato,
@node submediant
@section submediant
-ES: superdominante,
+ES: submediante,
I: sopratonica,
F: sous-médiante,
D: Submediante,
@node syncopation
@section syncopation
-ES: sincopado,
+ES: sÃncopa,
I: sincope,
F: syncope,
D: Synkope,
@node syntonic comma
@section syntonic comma
+ES: coma sintónica,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
@node system
@section system
+ES: sistema,
I: accollatura,
F: système,
D: Notensystem,
@node tone
@section tone
-ES: sonido,
+ES: tono,
I: suono,
F: ton,
D: Ton,
@node tonic
@section tonic
-ES: tonica,
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
@node tremolo
@section tremolo
-ES: tremolo,
+ES: trémolo,
I: tremolo,
F: trémolo,
D: Tremolo,
@node turn
@section turn
-ES: grupo,
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
@item
@tab brevis
@tab brevis
- @tab breve
+ @tab cuadrada
@item
@node The Feta font
@appendixsec The Feta font
+@cindex Feta font
+@cindex Font, Feta
+
The following symbols are available in the Emmentaler font and may be
accessed directly using text markup such as @code{g^\markup @{
\musicglyph #"scripts.segno" @}}, see @ref{Text markup}.
* Building complicated functions::
* Markup programmer interface::
* Contexts for programmers::
-* OLD STUFF::
@end menu
(set! (ly:grob-property grob 'transparent) #t)))
@end example
-
-@node OLD STUFF
-@section OLD STUFF
-
-This stuff is slated for deletion or merger into the earlier sections.
-
-@menu
-* Extending music syntax::
-* Manipulating music expressions::
-* Using LilyPond syntax inside Scheme::
-@end menu
-
-
-@node Extending music syntax
-@subsection Extending music syntax
-
-@c TODO: rewrite example.
-@c The use of FUNC as example argument is rather confusing.
-
-The syntax of composite music expressions, like @code{\repeat},
-@code{\transpose}, and @code{\context} follows the general form of
-
-@example
-\@code{keyword} @var{non-music-arguments} @var{music-arguments}
-@end example
-
-Such syntax can also be defined as user code. To do this it is
-necessary to create a @emph{music function}. This is a specially marked
-Scheme function. For example, the music function @code{\applyMusic} applies
-a user-defined function to a music expression. Its syntax is
-
-@example
-\applyMusic #@var{func} @var{music}
-@end example
-
-A music function is created with @code{ly:make-music-function},
-
-@example
-(ly:make-music-function
-@end example
-
-@code{\applyMusic} takes a Scheme function and a Music expression as
-arguments. This is encoded in its parameter list,
-
-@example
-(list procedure? ly:music?)
-@end example
-
-The function itself takes another argument: an Input location
-object. That object is used to provide error messages with file names
-and line numbers. The definition is the second argument of
-@code{ly:make-music-function}. The body simply calls the function
-
-@example
-(lambda (where func music)
- (func music))
-@end example
-
-The above Scheme code only defines the functionality. The tag
-@code{\applyMusic} is selected by defining
-
-@example
-applyMusic = #(ly:make-music-function
- (list procedure? ly:music?)
- (lambda (parser location func music)
- (func music)))
-@end example
-
-A @code{define-music-function} macro is introduced on top of
-@code{ly:make-music-function} to ease the definition of music
-functions:
-
-@example
-applyMusic = #(define-music-function (parser location func music)
- (procedure? ly:music?)
- (func music))
-@end example
-
-Examples of the use of @code{\applyMusic} are in the next section.
-
-@seealso
-@file{ly/@/music@/-functions@/-init@/.ly}.
-
-
-@node Manipulating music expressions
-@subsection Manipulating music expressions
-
-Music objects and their properties can be accessed and manipulated
-directly through the @code{\applyMusic} mechanism.
-The syntax for @code{\applyMusic} is
-
-@example
-\applyMusic #@var{func} @var{music}
-@end example
-
-@noindent
-This means that the Scheme function @var{func} is called with
-@var{music} as its argument. The return value of @var{func} is the
-result of the entire expression. @var{func} may read and write music
-properties using the functions @code{ly:music-property} and
-@code{ly:music-set-property!}.
-
-An example is a function that reverses the order of elements in
-its argument,
-@lilypond[quote,verbatim,ragged-right]
-#(define (rev-music-1 m)
- (ly:music-set-property! m 'elements
- (reverse (ly:music-property m 'elements)))
- m)
-
-\applyMusic #rev-music-1 { c'4 d'4 }
-@end lilypond
-
-The use of such a function is very limited. The effect of this
-function is void when applied to an argument that does not have
-multiple children. The following function application has no effect
-
-@example
-\applyMusic #rev-music-1 \grace @{ c4 d4 @}
-@end example
-
-@noindent
-In this case, @code{\grace} is stored as @internalsref{GraceMusic}, which
-has no @code{elements}, only a single @code{element}. Every generally
-applicable function for @code{\applyMusic} must -- like music expressions
-themselves -- be recursive.
-
-The following example is such a recursive function: It first extracts
-the @code{elements} of an expression, reverses them and puts them
-back. Then it recurses, both on @code{elements} and @code{element}
-children.
-
-@example
-#(define (reverse-music music)
- (let* ((elements (ly:music-property music 'elements))
- (child (ly:music-property music 'element))
- (reversed (reverse elements)))
-
- ; set children
- (ly:music-set-property! music 'elements reversed)
-
- ; recurse
- (if (ly:music? child) (reverse-music child))
- (map reverse-music reversed)
-
- music))
-@end example
-
-A slightly more elaborate example is in
-@inputfileref{input/@/test,reverse@/-music@/.ly}.
-
-Some of the input syntax is also implemented as recursive music
-functions. For example, the syntax for polyphony
-@example
-<<a \\ b>>
-@end example
-
-@noindent
-is actually implemented as a recursive function that replaces the
-above by the internal equivalent of
-@example
-<< \context Voice = "1" @{ \voiceOne a @}
- \context Voice = "2" @{ \voiceTwo b @} >>
-@end example
-
-Other applications of @code{\applyMusic} are writing out repeats
-automatically (@inputfileref{input/@/test,unfold@/-all@/-repeats@/.ly}),
-saving keystrokes (@inputfileref{input/@/test,music@/-box@/.ly}) and
-exporting LilyPond input to other formats
-@c no @inputfileref{} here
-(eg. @file{input/@/no@/-notation/@/to@/-xml@/.ly}).
-
-@seealso
-
-@file{scm/@/music@/-functions@/.scm}, @file{scm/@/music@/-types@/.scm},
-@inputfileref{input/@/test,add@/-staccato@/.ly},
-@inputfileref{input/@/test,unfold@/-all@/-repeats@/.ly}, and
-@inputfileref{input/@/test,music@/-box@/.ly}.
-
-
-@node Using LilyPond syntax inside Scheme
-@subsection Using LilyPond syntax inside Scheme
-
-Creating music expressions in Scheme can be tedious, as they are
-heavily nested and the resulting Scheme code is large. For some
-simple tasks this can be avoided by using common LilyPond syntax inside
-Scheme, with the dedicated @code{#@{ ... #@}} syntax.
-
-The following two expressions give equivalent music expressions:
-@example
-mynotes = @{ \override Stem #'thickness = #4
- @{ c'8 d' @} @}
-
-#(define mynotes #@{ \override Stem #'thickness = #4
- @{ c'8 d' @} #@})
-@end example
-
-The content of @code{#@{ ... #@}} is enclosed in an implicit @code{@{
-... @}} block, which is parsed. The resulting music expression, a
-@code{SequentialMusic} music object, is then returned and usable in Scheme.
-
-Arbitrary Scheme forms, including variables, can be used in @code{#@{ ... #@}}
-expressions with the @code{$} character (@code{$$} can be used to
-produce a single @code{$} character). This makes the creation of simple
-functions straightforward. In the following example, a function
-setting the TextScript's padding is defined:
-
-@lilypond[quote,verbatim,ragged-right]
-#(use-modules (ice-9 optargs))
-#(define* (textpad padding #:optional once?)
- (ly:export ; this is necessary for using the expression
- ; directly inside a block
- (if once?
- #{ \once \override TextScript #'padding = #$padding #}
- #{ \override TextScript #'padding = #$padding #})))
-
- {
- c'^"1"
- #(textpad 3.0 #t) % only once
- c'^"2"
- c'^"3"
- #(textpad 5.0)
- c'^"4"
- c'^"5"
- }
-@end lilypond
-
-Here, the variable @code{padding} is a number; music expression
-variables may also be used in a similar fashion, as in the following
-example:
-
-@lilypond[quote,verbatim,ragged-right]
-#(define (with-padding padding)
- (lambda (music)
- #{ \override TextScript #'padding = #$padding
- $music
- \revert TextScript #'padding #}))
-
-{
- c'^"1"
- \applyMusic #(with-padding 3) { c'^"2" c'^"3" }
- c'^"4"
-}
-@end lilypond
-
-The function created by @code{(with-padding 3)} adds @code{\override} and
-@code{\revert} statements around the music given as an argument, and returns
-this new expression. Thus, this example is equivalent to:
-
-@example
-@{
- c'^"1"
- @{ \override TextScript #'padding = #3
- @{ c'^"2" c'^"3"@}
- \revert TextScript #'padding
- @}
- c'^"4"
-@}
-@end example
-
-
-
Albert Frantz
Aurèle Duda
+Bernie Arai
Cameron Horsburgh
Claude Routhier
Christopher Ellis
Christian Hitz
Colin Wilding
David Rogers
+Francisco Vila
J. Leung
Harald Wellmann
Karl Hammar
projects / lilypond.git / commitdiff