From: fred <fred>
Date: Sun, 24 Mar 2002 20:06:24 +0000 (+0000)
Subject: lilypond-0.1.47
X-Git-Tag: release/1.5.59~3400
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=60bf08f1255f334da28ac30520236f719307ff70;p=lilypond.git

lilypond-0.1.47
---

diff --git a/Documentation/INSTALL.pod b/Documentation/INSTALL.pod
index d724945a9a..33e6b0d44f 100644
--- a/Documentation/INSTALL.pod
+++ b/Documentation/INSTALL.pod
@@ -25,15 +25,15 @@ For compilation you need.
 =item *
 
 A GNU system: GNU LilyPond is known to run on these GNU systems: Linux
-(PPC, intel), FreeBSD, AIX, NeXTStep, Digital Unix and Solaris.
+(PPC, intel), FreeBSD, AIX, NeXTStep, IRIX, Digital Unix and Solaris.
 
 If you have the Cygnus WINDOWS32 port of the GNU utils, it will even
 work in Windows NT/95, but we don't promise to support it.
 
 =item *
 
-GNU C++ v2.7 or better, with libg++ installed.  Version 2.7.2
-or better recommended. 
+GNU C++ v2.7 or better, with libg++ installed.  If you use gcc 2.8 or
+egcs then you should install a matching libg++  (ie. 2.8) version.
 
 =item *
 
@@ -197,10 +197,10 @@ contain all files generated during compilation).
 =head2 Building for multiple hosts
 
 LilyPond does not follow the GNU standards when it comes to
-configuring and making Makefiles. In LilyPond, F<make> generates I<all>
-output in output directories (called F<out/>, by default). 
-You can have multiple compiles from the same source-tree, by
-overriding the setting for the output directory.
+configuring and making Makefiles. In LilyPond, F<make> generates
+I<all> output in output directories (called F<out/>, by default).  You
+can have multiple compiles from the same source-tree, by overriding
+the setting for the output directory.
 
 Example: on my system, I do debugging and lots compiling. For this I
 use the configuration as follows:
@@ -218,8 +218,9 @@ and I want to do profiling. For that I use
 
 These two commands build two entirely separate versions of
 LilyPond. In Real Life, you would probably also want to have two
-different prefixes. On my machine this is no problem; I never do 
-C<make install>. My prefix dirs are linked back to my source directory.
+different prefixes. On my machine this is no problem; I never do
+C<make install>. My prefix dirs are linked back to my source
+directory.
 
 
 =head1 INSTALLING
diff --git a/Documentation/introduction.doc b/Documentation/introduction.doc
new file mode 100644
index 0000000000..0b40054c99
--- /dev/null
+++ b/Documentation/introduction.doc
@@ -0,0 +1,191 @@
+% -*-latex-*-
+
+% this document should be run through the mudela-book script after lilypond
+% has been installed.  The rules have been precooked into the
+% Documentation/Rules.make file; do 
+%
+%   make out/introduction.dvi
+%
+% or
+%
+%   mudela-book --outdir=out/ --outname=introduction.mudtex introduction.doc
+%   latex '\nonstopmode \input out/introduction.mudtex'
+
+
+\documentclass{article}
+\usepackage{a4wide}
+\title{Introduction to GNU LilyPond}
+\author{Jan Nieuwenhuizen}
+\date{March 2, 1998}
+
+% ugh: trick to get examples not generate par
+% these are for 16pt
+\def\mudelapaperlinewidth{-28.452756}%
+\def\mudelapaperindent{28.452756}%
+\def\mudelapaperrulethickness{0.400000}%
+\def\mudelapaperbarsize{16.000000}%
+\def\mudelapaperinterline{4.000000}%
+\def\mudelapapernotewidth{5.930000}%
+\def\mudelapaperwholewidth{8.640000}%
+\def\mudelapaperunitspace{22.000000}%
+\def\mudelapaperbasicspace{4.000000}%
+\def\mudelapapergeometric{0.000000}%
+\def\mudelapaperarithmetic_basicspace{2.000000}%
+\def\mudelapaperarithmetic_multiplier{4.800000}%
+\def\mudelapaperinterbeam{3.140000}%
+\def\mudelapapergourlay_energybound{100000.000000}%
+\def\mudelapapergourlay_maxmeasures{14.000000}%
+
+% ful of pars, needs the above
+\input lilyponddefs
+% generates par
+\musixsixteendefs
+\def\musixsixteendefs{}
+% generates par
+\turnOnPostScript%
+\def\turnOnPostScript{}
+% 
+
+\begin{document}
+\maketitle
+
+\def\interexample{\hskip15mm$\Longrightarrow$\hskip15mm}
+\def\preexample{}
+\def\postexample{\par\medskip}
+
+% ugh, howto?
+% \def\frag{\vbox to 2\mudelapaperbarsize pt{\vss}
+% \def\interexample{\vss}\hskip15mm$\Longrightarrow$\hskip15mm}
+% \def\preexample{\vbox to 2\mudelabarsize pt{\vss}
+% \def\postexample{\vss}\par\medskip}
+
+\def\file#1{{\texttt{#1}}}
+\setcounter{secnumdepth}{-1}
+
+\emph{\Large ***Under construction***}
+
+\section{Introduction}
+This document should provide a gentle introduction to 
+LilyPond's input language, Mudela.
+For completeness and nifty features see 
+\verb+input/*.ly+
+and
+\verb+lily/parser.y, lily/lexer.l+.
+
+
+\section{Notes: pitches and durations}
+
+\begin[fragment,verbatim]{mudela}
+c
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+c d e f g a b
+\end{mudela}
+
+Durations are entered as reciproce values
+\begin[fragment,verbatim]{mudela}
+a1 | a2 a | a4 a a a
+\end{mudela}
+and default to the last previously used duration.
+
+Now we can write a little tune
+\begin[fragment,verbatim]{mudela}
+c d e c | c d e c | e f g2 | e4 f g2
+\end{mudela}
+note the explicit duration change for 
+the quarter e in the last measure.
+
+Same for notes with flags
+\begin[fragment,verbatim]{mudela}
+a8 a16 a32 a64 a128
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+c c' c''
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+a 'a ''a
+\end{mudela}
+
+\section{Slurs and Ties}
+
+A tie connects two adjacent noteheads
+
+\begin[fragment,verbatim]{mudela}
+c' ~ c
+\end{mudela}
+
+Whereas a slur rather connects `chords', 
+and tries to avoid crossing stems.
+
+\begin[fragment,verbatim]{mudela}
+c'( )c
+\end{mudela}
+
+A (legato) slur can span several notes
+\begin[fragment,verbatim]{mudela}
+c'( d e )c
+\end{mudela}
+
+\section{Beams and plets}
+
+\begin[fragment,verbatim]{mudela}
+[a8 a] [a16 a a a]
+\end{mudela}
+
+% [2/3 a8 a a]1/1
+\begin[fragment,verbatim]{mudela}
+[/3 a8 a a]/1
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+\[/3 a4 a8\]
+\end{mudela}
+
+\section{Commands}
+
+\begin[fragment,verbatim]{mudela}
+\clef "bass"; 'c
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+\meter 3/4; c g g |
+\end{mudela}
+
+\begin[fragment,verbatim]{mudela}
+\key fis cis;
+'g 'a 'b cis d e fis g'
+\end{mudela}
+
+\section{Example}
+
+A Mudela file needs some red tape
+
+\begin[verbatim]{mudela}
+\score{
+	\melodic{
+		\octave c';
+		c d e c
+	}
+}
+\end{mudela}
+
+\section{Lyrics}
+
+% this nesting syntax sucks
+\begin[verbatim]{mudela}
+\score{
+	< 
+		\melodic \type Staff = bla < \melodic{\octave c'; c d e c} >
+% huh?
+%		\lyric \type Lyrics = bli < \lyric{Fre- re Ja- que} >
+        >
+}
+\end{mudela}
+
+\section{Variables}
+
+\end{document}
+
diff --git a/VERSION b/VERSION
index 4bdb5e8521..cab5f19d38 100644
--- a/VERSION
+++ b/VERSION
@@ -1,6 +1,6 @@
 TOPLEVEL_MAJOR_VERSION = 0
 TOPLEVEL_MINOR_VERSION = 1
-TOPLEVEL_PATCH_LEVEL = 46
+TOPLEVEL_PATCH_LEVEL = 47
 TOPLEVEL_MY_PATCH_LEVEL = 
 
 # use the above to send patches, always empty for released version:
diff --git a/mutopia/J.S.Bach/preludes-3.ly.m4 b/mutopia/J.S.Bach/preludes-3.ly.m4
index 88f575edd3..e7e85b9185 100644
--- a/mutopia/J.S.Bach/preludes-3.ly.m4
+++ b/mutopia/J.S.Bach/preludes-3.ly.m4
@@ -39,7 +39,8 @@ rh = \melodic{
 	s('bes d g)
 
 
-	s(c fis a -"poco a poco cresc.")
+%#	s(c fis a -"poco a poco cresc.")
+	t(c,fis,a,-"poco a poco cresc.")
 	s(d g bes)
 	s(d fis c')
 
@@ -57,7 +58,8 @@ rh = \melodic{
 	s('fis 'a c)
 	s('fis 'a c)
 	r16\p ['g 'a c] ['b 'g 'b 'g] r 'g r 'g
-	s('a c fis -"poco cresc.")
+%#	s('a c fis -"poco cresc.")
+	t('a,c,fis,-"poco cresc.")
 	s(c fis a)
 	s('b d g)
 	s('b d f -"dim.")
@@ -118,7 +120,7 @@ lh = \melodic{
 
 	'd4 r ['bes8 'g] |
 	'd4 r [es8 c] |
-	'd4 r [d8 c] |
+	'd4 r [d8 a] |
 
 	'g4 r [es8 c] |
 	'g4 r [d8 'b] |
diff --git a/mutopia/J.S.Bach/preludes-4.ly b/mutopia/J.S.Bach/preludes-4.ly
index 9b54a623dc..4dc6d24caf 100644
--- a/mutopia/J.S.Bach/preludes-4.ly
+++ b/mutopia/J.S.Bach/preludes-4.ly
@@ -35,6 +35,7 @@ one = \melodic{
 	\stemup
 	)'fis4\p 
 	\skip 4*7; |
+	\textstyle "finger";
 	d4.\mf cis8-"4\\_5" ~ cis 'b4-5 'a8-"4\\_5" ~ |
 	\textstyle "italic";
 	'a 'g4-5 'fis8-4 ~ ['fis16 'fis-4-"dim." 'e-3 'd-2] 
@@ -51,6 +52,7 @@ one = \melodic{
 	'b4-5 'a ~ ['a8 'g-5 ~] ['g16 'fis8-4 'e'16-3] |
 	['fis8-4 'e-5~] ['e 'd-5~] 'd4 'cis-4 |
 	'd2\p-"rall." ~ ['d16 ''a-2( ''b-3 'cis-4] )'d4-5 |
+	\bar "|.";
 }
 
 two = \melodic{
@@ -58,25 +60,26 @@ two = \melodic{
 	\textstyle "finger";
 % ugh: koor
 %	\translator Staff=bass \octave c; \stemup
+	\stemup;
 	fis4-1( e8-2 a4 a4 gis8-2 | 
 	) a8
 	\translator Staff=treble \octave c''; \stemdown
 	'a4 'a8 'b4.-"2\\_1" cis8 ~ | 
 	cis8
 	\translator Staff=bass \octave c; \stemup
-	a8 ~ [a d'] ~ d' d'4-> c'8 | 
+	a8 ~ [a d'] ~ d' d'4-> cis'8 | 
 	d'8
 	\translator Staff=treble \octave c''; \stemdown
 	d4-> cis8-1 ~ cis 'b4-1 'b8 |
 	r8 'a4 'a8
 	\translator Staff=bass \octave c; \stemup
 	[g'8-1( fis'-2] )e'4-1 ~ | 
-	e'4 d' ~ [d'16 d-1 cis'-2 g-1] cis'4-2 ~ |
-	[c'8 a-3] d'4.-1 d'4-> cis'8-2 |
+	e'4 d' ~ [d'16 d'-1 cis'-2 b-1] cis'4-2 ~ |
+	[cis'8 a-3] d'4.-1 d'4^> cis'8-2 |
 	\translator Staff=treble \octave c''; \stemdown
 	'd4 
 	\stemboth
-	r16 [''b-1\< d-2 ''b~] <'g4-5 'e-3 ''b>
+	r16 [''b-1\< 'd-2 ''b~] <'g4-5 'e-3 ''b>
 	r16 ['cis-1 'e-2 \!'cis~] |
 	<'a4-5 'f-3 'cis> r16 ['d-1 'fis-2 'd~] <'b4-5 'g-3 'd>
 	r16 ['fis-1 'a 'fis~] |
@@ -109,7 +112,8 @@ two = \melodic{
 		}
 	>
 	[g-1 fis-2 g-1 a-2] [g-1 b-3 a-2 g-1 ~] |
-	[g g-1 fis-2 e-1] fis-2 ~ fis2
+	[g g-1 fis-2 e-1] fis4-2 ~ fis2
+	\bar "|.";
 }
 
 three = \melodic{
@@ -133,14 +137,14 @@ three = \melodic{
 	[fis-2 g a-2 fis-4] |
 	)fis16 ['g( 'b 'g] [d-2 e fis-2 d-4] [)g8-. 'g-.] r16 [cis-4( e cis] |
 	[)fis8-. 'fis-.] \stemdown r16 ['b-4( d 'b] [)e8-. 'e-.] 
-	r16 ['a-4 cis a] |
+	r16 ['a-4 cis 'a] |
 	\stemboth
 	[d-1 e-3 fis-2 d-4] [g-1 fis-2 e-3 d-1] [cis!-3 'a-5 'b cis]
 	[d-2 e fis-2 d-4] |
-	[g8 e-3] \stemdown [a 'a] ['b8.-4 'g16-5] a4-4 |
+	[g8 e-3] \stemdown [a 'a] ['b8.-4 'g16-5] 'a4-4 |
 	[d8-5 a-2~] [a g-3~] [g g-3] fis4-4 |
 	\stemup
-	r16 [g-2 b-1 g-3] [b'8.-1 c'16-1] [b8.-2 bes16-3] [a8-1 g] |
+	r16 [g-2 b-1 g-3] [d'8.-1 c'16-1] [b8.-2 bes16-3] [a8-1 g] |
 	\stemdown
 	r16 ['a-2 cis!-1 a-2] [d-1 e fis d] [e8-1 d-2] [e-1 'a-2] |
 	[d 'a-2~] ['a16 'a-2 'b cis-2] d2 |
@@ -218,6 +222,10 @@ global  = \melodic{
 	\paper{
 		\paper_twenty
 		linewidth= 195.\mm;
+%		arithmetic_basicspace = 2.;
+%		arithmetic_multiplier = 6.\pt;
+		arithmetic_basicspace = 3.;
+		arithmetic_multiplier = 6.\pt;
 	}
 	\midi{
 		\tempo 4 = 110;
diff --git a/mutopia/J.S.Bach/preludes-5.ly b/mutopia/J.S.Bach/preludes-5.ly
index aee8b4c4a5..b0812f72b1 100644
--- a/mutopia/J.S.Bach/preludes-5.ly
+++ b/mutopia/J.S.Bach/preludes-5.ly
@@ -24,10 +24,10 @@ rh = \melodic{
 	\multi 2 < 
 		{
 			\stemup
-%			c4\mr^"(\\textsharp)"\p r r |
-%			c4\mr^"(\\textsharp)" r r
-			c4^"(\\textsharp)"\p r r |
-			c4^"(\\textsharp)" r r
+%			c'4\mr^"(\\textsharp)"\p r r |
+%			c'4\mr^"(\\textsharp)" r r
+			c'4^"(\\textsharp)"\p r r |
+			c'4^"(\\textsharp)" r r
 		}
 		{
 			\stemdown
@@ -35,6 +35,7 @@ rh = \melodic{
 			a4 r r
 		}
 	> |
+	\stemboth;
 	[a'8\mf( es'-3\> d' c' bes!-3 a] |
 	[g fis-3 e!-2 d-1 c'-4 \!a] |
 	[)bes32(\p a bes16] [d'8-5 bes-3 g-1] )g'4 |
@@ -43,12 +44,12 @@ rh = \melodic{
 	[)a-2 c'-4( a f] ) f'4 |
 %	r8 [c'-5 bes a g\tr f] |
 	r8 [c'-5 bes a g f] |
-	[g-2 bes-4 a g fis-1 e-2] |
+	[g-2 bes-4 a g f-1 e-2] |
 	[f-3 d-1 f-2 a-3 d'-5 g-2] |
 	\multi 2 < 
 		{
 			\stemup
-			[cis'32-4 b cis'16 e'8-5-"poco cresc." cis-3 a e' cis]
+			[cis'32-4 b cis'16 e'8-5-"poco cresc." cis'-3 a e' cis']
 		}
 		{
 			\stemdown
@@ -73,11 +74,12 @@ rh = \melodic{
 	[d-1 a-5 f-3 d-1 cis-2 d-1] |
 	[e-3\< g-5 e-3 'bes-1 g-5 e-3] |
 	['bes-1 g-5 e-3 \!cis-2 'a-1 g-5] |
-	[f16-4\mf d-2 c-1 'bes-3] s4 s |
+	[f16-4\mf d-2 c-1 'bes-3] /stemup 'a-2 s16 s8 s4 |
 % ugh
 %	s1 |
 	s4 s4 s4 |
-	s4 s16 [d16-1-"m.d." f-2 a-4] [d-2-"m.g." f a] \stemup d'-1 |
+	s4 s16 [d16-1-"m.d." f-2 a-4] \stemdown [d-2-"m.g." f a] \stemup d'-1 |
+	\stemboth
 	[f' a'-4 f' d'] [f'-4 d' b d'-5] [gis-2 b a g] |
 	<g'!4.-5\f e' a> a'8-5 
 	\multi 2 <
@@ -124,32 +126,33 @@ lh = \melodic{
 	gis4-3 r r |
 	e-4( )gis-2 e |
 	[a8-4 e'-1 c'-2 a-4 e'-1 c'-2 ] |
+	[g!-5 es'-1 c'-1 g-5 es'-1 c'-1 ] |
 	fis4-5 r r 
 	d-4( ) fis d-5 |
-%	g\mr-"(\textsharp)" r r f!8 |
-	g-"(\textsharp)" r r8 f! |
+%	g\mr-"(\\textsharp)" r r f!8 |
+	g-"(\\textsharp)" r r8 f! |
 	[e32 f e8.] r4 r |
 %	f\pr r r8 e |
 	f r r8 e |
 	d4 r8 [f-1 e d] |
 	[e-2 d-3 cis-4 e-1 d-2 cis-3] |
-	d4-2( )c! 'b-4 |
-	'a( )a a |
-	'a( )a a |
-	'a( )a a |
-	'a( )a a |
-	'b r r |
-	'b-5( )b 'b |
+	d4-2( )c! 'bes-4 |
+	'a( )a 'a |
+	'a( )a 'a |
+	'a( )a 'a |
+	'a( )a 'a |
+	'bes r r |
+	'bes-5( )bes 'bes |
 	'a r r |
 	'a-2( )d-1 'd |
 	'g r r |
-	'g( )g g |
+	'g( )g 'g |
 	'g r r |
-	'g( )g g |
+	'g( )g 'g |
 	'a r r |
-	'a( )a a |
+	'a( )a 'a |
 	'a r r |
-	'a( )a a |
+	'a( )a 'a |
 	'cis r r |
 	'cis( )cis 'cis |
 	'd-4 s16
@@ -165,6 +168,7 @@ lh = \melodic{
 	\stemdown
 %	[d-4-"m.g." f-"cresc."] a s s8 s4\dep |
 	[d-4-"m.g." f-"cresc."] a s s8 s4-"*" |
+	\stemboth
 % ugh, whole rest has duration of one bar
 %	r1 |
 	r4 r r |
@@ -205,6 +209,10 @@ global  = \melodic{
 	\paper{
 		\paper_twenty
 		linewidth= 195.\mm;
+%		arithmetic_basicspace = 2.;
+%		arithmetic_multiplier = 6.\pt;
+		arithmetic_basicspace = 2.;
+		arithmetic_multiplier = 8.\pt;
 	}
 	\midi{
 		\tempo 4 = 90;
diff --git a/mutopia/J.S.Bach/preludes-6.ly b/mutopia/J.S.Bach/preludes-6.ly
index 14d1bf6fb5..b25d5a287f 100644
--- a/mutopia/J.S.Bach/preludes-6.ly
+++ b/mutopia/J.S.Bach/preludes-6.ly
@@ -12,24 +12,26 @@ one = \melodic{
 	\octave c';
 	\skip 4*4; |
 	\stemup
-	r4 d2-5( cis4-4 |
+	r4 d'2-5( cis'4-4 |
 	\stemboth
-	[)d16-5\mf a'-4( g' f'] [e' f'-4 cis'-2 d'-1] 
-	[e32-3 d e8 f16] [d'8.-1 cis'16-3] |
+	[)d'16-5\mf a'-4( g' f'] [e' f'-4 cis'-2 d'-1] 
+	[e'32-3 d' e'8 f'16] [d'8.-1 cis'16-3] |
 	\stemup
-	)cis'4\> ~ [cis16 a \!d'8 ~] d4 c-5 |
+	)cis'4\> ~ [cis'16 a \!d'8 ~] d'4 c'-5 |
 	b2-4 ~ b4 a-5 ~ |
 	[a16 a-5 \stemup g! f] g4-4\< ~ g f-3 ~ |
 	[\!f16 a g f] [e16 g8.-5 ~] [g16 g-5 f-4 e-3] [d-1 f8.-4 ~] |
 	[f16 f-3 e d] b4 a-5 g-5 |
-	fis4-4 g r8\<-"rall." [g16-1( bes-2] r16 [bes-2 a-2 \!g-1] |
-	) d'1-5
+	fis4-4 g r8\<-"rall." [g16-1( bes-2] \!e'4-5\> |
+	\!)d'1-5
+	\bar "|.";
 }
 
 two = \melodic{
 	\octave c';
 	r16\p [d'-5( c'-4 bes-3] [a-2 bes-3 f-1 g-2] 
 	[a32-3 g a8 bes16-1] [g8. f16-1] |
+	\stemdown
 	)f2 e2 |
 	\translator Staff=bass \octave c; \stemup
 	r4 a-1 bes-2 b-1 |
@@ -39,7 +41,7 @@ two = \melodic{
 	s4 [e32 d e8.~] e4 d4 ~ |
 	d4. [cis16-2 d-1] cis4 d-1 ~ |
 	d8 r r16 [e-2 f d] r16 [e-2 f d] r [d-1 e-3 cis] |
-	r16 [e-3 d-1 c!-2] ['bes! d8.] r8 e'4-5 |
+	r16 [e-3 d-1 c!-2] ['bes! d8.] s4 r16 [bes-2 a-2 \!g-1] |
 	fis1-2
 }
 
@@ -47,24 +49,32 @@ three = \melodic{
 	\octave c;
 	\stemup
 	f2-1( e-2 |
-	[)d16 b'( c' bes] [a-4 bes-2 f-5 g-4] 
+	\stemboth;
+	[)d16 d'( c' bes] [a-4 bes-2 f-5 g-4] 
 	[a32 g a8 bes16-2]
 	[g8.-4 f16-5] |
 	)f2-5 g4-4 gis |
 	a2-2 ~ [a16 a-1( g f] [e-4 f-2 c-5 d] |
 	[e32 d e8 f16] [d8.-4 c16-5] \stemboth )c4.-5 d8-4 |
+	\stemdown
 	e4 ~ [e16 f-2( e-3 d-4] [cis 'a 'b cis-3] [d-4 e-3 f-2 d-4] |
 	\textstyle "finger";
 	)'bes!2-"5\\_4" 'a ~ |
-	a a |
+	'a 'a |
 	'd cis-5 |
-	b1-2
+	a1-2
+	\bar "|.";
 }
 
 four = \melodic{
 	\octave c;
+	\stemdown;
 	d2-3 cis-4 |
-	\skip 4*16;
+	\skip 4*12;
+	\translator Staff=treble \octave c'; \stemup \property Voice.hshift = 1 
+	a4 gis-2 ~ [gis16 gis-3 fis e]
+	\skip 4*1;
+	\translator Staff=bass \octave c; \stemdown \property Voice.hshift = 0 
 	\stemup
 	b2-1 a-1 |
 	g a4. [gis16 a] |
@@ -106,16 +116,21 @@ global  = \melodic{
 		\type Staff=treble  < 
 			\global 
 % huh? try these iso directly!
-			\lh
-%			\one
-%			\two
+%			\lh
+			\multi 2 < 
+				  \one
+				  \two
+			>
 		>
 		\type Staff=bass  < 
 			\global 
-			\rh
+%			\rh
 % or try \two having here, iso above!
-%			\three
-%			\four
+			\clef "bass";
+			\multi 2 <
+				  \three
+				  \four
+			>
 		>
 	>
 	\paper{
@@ -123,6 +138,6 @@ global  = \melodic{
 		linewidth= 195.\mm;
 	}
 	\midi{
-		\tempo 4 = 110;
+		\tempo 4 = 40;
 	}
 }