> In 2.14 we should be able to do this (because we already can in the
> development version) :
>
> % tieDynamic to the next dynamic mark, so that they are placed as a
> % group
> tieDynamic = #(make-music 'CrescendoEvent 'span-direction START
> 'span-type 'text 'span-text "")
> {
> d'16 \< d''
>>> % tieDynamic to the next dynamic mark, so that they are placed as
>>> % a group
>>> tieDynamic = #(make-music 'CrescendoEvent 'span-direction START
>>>'span-type 'text 'span-text "")
>>
>> Hmm, using 2.13.37, this has nasty side effects and doesn't yield
>> the expected result.
> Is it possible to force the "6" to appear above the beam as
> intended? I can provide my .ly if you like.
What about this:
http://lsr.dsi.unimi.it/LSR/Item?id=646
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>> How does LilyPond create the ps/pdf output?
It directly creates PS output which is then converted by ghostscript
to PDF.
>> Does it use TeX in any way as a backend?
This has been the case a few years ago, however, it has been
abandonded since we meanwhile need direct access to the fonts. Us
> Is it possible to check real small caps are available within the
> font?
The whole issue is VERY problematic. Today, many fonts already
contain glyphs for small caps, however, lilypond isn't able to access
them! Reason is that lilypond currently misses an interface to
OpenType layout tables.
> The `normal' one is `smcp', BTW. If you activate it, small letters in
> the input are converted to small caps letters.
If I say `small letters' I mean `lowercase letters'.
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> Oh, I didn't know you guys had viola jokes too :-)
My younger brother plays the viola in the Vienna Philharmonic
Orchestra, and he has assured to me that there aren't any viola jokes
at all: everything reported so far is simply the truth.
Werner
__
>> Why don't Horn players get a second date? (...)
>
> please, don't post such vulgar jokes here. In my opinion it's a
> shame for the project.
However, it's one of the best jokes I've ever heard recently, and it
was unknown to me. And honestly, I've heard *a lot* of such jokes
during boring s
> Thanks to my conductor for that one.
:-)
Another one (my last one):
In the middle of a soccer field there is a 500€ banknote. In the
corners there are the concertmaster, a fast viola player, a slow
viola player, and a double bass player. Who is first and gets the
money?
Answer: T
> The \change command expects bare strings for arguments, so the
> following,
>
> \change Staff = \foo
>
> isn't allowed.
Hmm. Is this intentional? It looks like a bug...
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> Hello, I have been searching a lot and still can not find a solution
> for my lyric ties. I obtain very misplaced ones and I know that a
> font like DejaVuLGC installed should do the trick in my Ubuntu system.
> My problem is: I have it installed, how do I force lilypond to use
> that font?
>
> you can change the font for a single character in \markup:
>
> \addlyrics {
> Buon gior --
> \markup\concat{no \override #'(font-name . "DejaVu Sans Bold"){$(Q+X(B}
> al}
> mon -- do.
> }
>
> (I tested with "DejaVu Sans Bold" because I'm not sure if the other
> one exists on my comput
> I'm using a font all the time in LaTeX (Adobe's Frutiger) that I
> select in my LaTeX documents with
>
> \renewcommand{\rmdefault}{pfr}
>
> Can I make this font selectable in Lilypond, and if so, how would I do
> it?
You must put your fonts (PFB, TTF, OTF, etc.) into a directory
searched by F
>> Post-mortem, this is not difficult: Just use the --ps option of
>> lilypond and search for `/uni203F' in the created PS file.
>
> Yes. That single character adds 2,855,700 bytes to the PS
This is normal, since lilypond doesn't do font subsetting. Sazanami
adds about 20MByte...
> and 62,425
> How and when does Lilypond/fontconfig scan for new fonts?
At startup, lilypond adds its own font directories to the list of
directories already controlled by fontconfig. This is even
controllable by the end user with ly:font-config-add-directory and
ly:font-config-add-font in case you want to
> FWIW, Finale 2010 *does* support this if you put the notes in
> separate layers (voices), add a courtesy accidental to the natural
> note, and fiddle with the Accidental Mover and Note Position gui
> tools. It doesn't do the right thing by default, though. Image
> attached.
Well, *manually* yo
> What is bizarre is that the ledger line is thicker than the normal
> lines in the staff.
This is not bizarre, this is correct musical typography.
> Apparently this can be fixed but is this normal?
Yes. Just check any manually engraved older scores.
Werner
__
>> I have recently had a discussion on the list about unstretchable
>> grace note groups. The solution was to set GraceSpacing
>> spacing-increment to zero. That is fine in all instances except for
>> the one in the example.
>
> \relative c'' {
> a {\squeeze \grace {\small \stemspace #'(0 . 0.
[About chords which contain notes of different durations, sometimes
seen in string music.]
> If the notes are all attached to the same voice why not allowing:
>
> << g,4 d'4 b'4>> ?
If at all, the syntax would be e.g.
and the chord's duration would be the maximum of the single note's
dura
>> If at all, the syntax would be e.g.
>>
>>
>>
>> and the chord's duration would be the maximum of the single note's
>> durations.
>>
>> This syntax extension looks quite natural to me.
>
> Not to me. Chord syntax explicitly creates a combined object with a
> common duration, and the duration
> I can not reproduce these errors on Ubuntu 10.04. I have a
> suspicion that it is your rasterizing engine in your Gentoo that is
> being fussy and that the errors might be caused by the fact that
> some of the fonts used by lilypond do not validate properly.
Another possibility is that the gly
>> The source is the Performers' Facsimiles edition of Dix Sonates by
>> Godfrey Finger.
>
> May be a trill judging from the commentary in the "Ornaments"
> article in Grove's and the chart at the end of the article. But in
> that source and in "The New Harvard Dictionary of Music," these
> pair
> This is what I tried, and got the same (wrong) result (Arabic
> characters not correctly displaying in their medial and initial
> forms):
I tried this:
\relative c' {
c4^\markup { \override #'(font-name . "KacstOffice")
"العربية" }
d e f |
g^\markup { "english"
>> Which version of LilyPond are you using? The 2.13 series has many,
>> many improvements in font/text handling that may not have been
>> backported to 2.12.
>
> I tried this on 2.12.3-1 (MacOS 10.6) and 2.13.47 (MacOS 10.6). I
> see the same problem in both versions.
The 2.14 release is comin
> DOUBLE LOW-9 QUOTATION MARK
>
> 201E (8222)
This number is correct. The two quotation characters as used in
Germany are „ (U+201E) and “ (U+201C).
In X, on my GNU/Linux box, I get those characters by pressing
and
respectively. However, I don't know where , the compose
key, is m
> Does anyone know how to create a full score and individual parts for
> a concert band? This would be very helpful to me. There should be a
> template for that in the documentation!
`Should'? Boy, the documentation already has more than 1000 pages!
Have you checked the lilypond snippet reposito
> In vocal music slurs usually indicate melismatas. What a slur across
> notes sung to different syllabes could mean?
Legato, as you've correctly deduced. However, it also indicates
possibilities for taking a breath. Richard Strauss uses a lot of such
slurs...
Just do what the composer is aski
> Lo and behold, another example from the Gondoliers
This slur has an exact meaning: It's a portato. You can find this
kind of notation in virtually all scores from the 19th century,
including both German (e.g. Wagner) and Italian (e.g. Verdi)
composers.
Werner
___
> I'd use phrasing slur, however there's not much phrase to indicate
> with it... Look at the slurs marked in red in the attachment - a
> phrasing slur for 2 notes?
Wearing my singers' coach hat, I'd say that the slurs have two
meanings:
. They indicate a long first note and a shorter second
> According to my research following up your post, I think it's
> actually portamento, which is explicitly said to be a vocal
> technique indicated by slurs, as opposed to portato which is a
> string technique, and includes staccato marks.
Oops, sorry, you are right. Sorry for the sloppy wording.
> In the Gondoliers, the Contadine sing "Per voi, bei signori".
> According to Google translate, 'bei' does not exist. Is there an
> Italian speaker here who can say whether it is Italian, or whether
> Gilbert got it wrong?
Gilbert got it right. Try the following google search (*including*
the
> And anyway, the notation manual contains pictures of the various
> accents, and apparently the combination is called "tenuto" and has
> its own entry syntax and shorthand.
The question is whether the verbal descriptions in the manual are
expressive enough so that blind users like Hai-Ping have
> sed -i bak \
> 's:usr/include/FlexLexer.h:opt/local/include/Flexlexer.h:' \
> config.make
Hmm. Why isn't that handled properly by the configure script?
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> Only common "f" ligatures work in gedit : ff, fi, fl, ffi, ffl, ffj,
> fj. st, ſt, ct, ſh, ſi, ſl, ſſ and sp don't work.
Normally, such old-fashioned ligatures are disabled and have to be
explicitly switched on by selecting a proper OpenType feature.
Cf. the `liga' (standard ligatures), `clig'
> I've seen these threat when it was just an 8 mails threat!!!
> It grows BIG JAJAA!!
Indeed. This thread becomes a threat because it's so big...
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> When I look at the metadata for the PDF versions of the
> documentation, it shows hundreds and hundreds of embedded fonts. Or
> more correctly, it shows subsets of the same fonts embedded, in some
> cases, hundreds of times over.
LilyPond creates many, many small PDF files which are eventually
> I just tried using pdfsizeopt without pngout, jbig2, or multivalent,
> and got about a 25% reduction in the size of the Notation Reference
> pdf.
Better than nothing, actually.
However, the `multivalent' part is the real optimization engine (and
this is exactly the problematic bit w.r.t. the l
> I setup pdfsizeopt, including multivalent, and ran the 2.13.55 docs
> through it, then created a PDF portfolio with an embedded index
> using Acrobat. The end result was a 34.8MB file containing
>
> extending.pdf
> internals.pdf
> learning.pdf
> notation.pdf
> snippets.pdf
> usage.pdf
> web.pdf
>> >> GLASGOW, Scotland -- April 1, 2011 -- The LilyPond development
>> >> team is proud to announce LilyPond 2.14, the latest stable
>> >> release of our award-winning music engraver.
Graham,
thanks a lot for all of your efforts!
Werner
PS: I can't see a 2.14 tag in `origin/master', and
>> PS: I can't see a 2.14 tag in `origin/master', and
>> `origin/stable/2.14' looks out of date. Is this intentional?
Well, I know it's April 1st, but IIRC Graham has announced to release
2.14 a few days earlier (wasn't he talking about April 5th
originally?) since he will be busy later on.
> Really, the *only* bug? I couldn't build LilyPond 2.14.0 *at all*,
> [...]
Hear, hear! Could you please be more specific? I know that behind
your back everything starts to rot (well, hopefully not everything),
but our crystal balls are out of service currently :-)
Werner
___
> Werner, I'm no neuro-hacker but I'm afraid that your irony detector
> might be a bit off today... Could you turn it back on, and have a look
> at the list of build-dependencies I posted? :-)
Uuuhhh.
Werner
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> Looks like a bug to me. See attachment.
Definitely a bug...
Werner
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> Lilypond 2.13.57 outputs midi in a extreme bad manner! Please
> compile a piece you recently wrote, and you'll collapse when
> listening the result. All note values are messed up, and in
> orchestral score, all instruments start at the beginning, like a pan
> of boiling water!
I've reported
> [...] the fact that someone modified abc2ly to break the way *my*
> ABC uses clefs (ABC isn't standardized, so there are several
> dialects) is a real nuisance. This kind of change should be
> discussed somewhere.
Bug report, please.
Werner
__
Please help this guy.
Werner
--- Begin Message ---
Dear Werner,
I create a lot of piano four-hands scores, with separate PDFs for Primo and
Secondo (see, for instance, my transcription of Fascinating Rhythm on my
transcription website: http://www.moltoallegro.com/rich.html).
I've begun
>>> Here is a beautiful example of something I've been suspecting for
>>> months. No matter how fast I reply to a question in this list, my
>>> reply only reaches other recipients's mailboxes after several
>>> hours. :-(
>>
>> I'm not sure if that's correct. I sent my original message at 17:00
>>
> I've put together a (very small) section of the Contributor's Guide on
> fonts.
Nice! Some comments:
. Please explain why only 223 glyphs. People expect 256 as the limit,
I think.
. FontForge is not used to `display' the resulting glyph shapes but to
convert the raw outlines created by
> But this path wasn't valid. The index.html file was actually
> installed to
>
> file:///usr/local/lilypond/usr/share/doc/lilypond/html/offline-root/index.html
Ouch. Why not the canonical location
file:///usr/local/share/doc/lilypond/... ?
This looks completely broken.
Werner
__
> A strange misalignment has appeared in one place in a score
> (Lilypond 2.14.1, win32). Instead of sitting over a barline, a
> fermata has been placed beneath the upper staff of a pianostaff.
> Elsewhere in the same score (e.g. in the upper staff in the example)
> it's coded in the same way but
> Sorry for posting a too-complex example. But I'd also add, from the
> perspective of a relatively new user, "tiny example" seems to be
> defined a bit like pornography... hard to say exactly what it is,
> but you know it when you see it. :)
:-) This saying should go into the manual also...
> Which one of the clefs in the attachment do you like best?
The first. IMHO, the other two are too small or should be used for
special situations only, like tight full scores.
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>> The first. IMHO, the other two are too small or should be used for
>> special situations only, like tight full scores.
>
> I've looked on IMSLP and many scores use clefs smaller than left
> one, not only when staves are crowded.
Yes, especially non-German editions use very small clefs. It's
> Do you think it would be a good idea to include both current Lily
> clef and the one suggested by me in the font?
Yes, definitely! For example in your bww 988 example, I still think
that the larger clef looks much better. Your idea of making the line
through the spiral a bit more straight is
> I really like the new clef in your recompiled examples. I vote for
> at least including both options if not replacing the existing one
> altogether. Thanks for your work on this, Janek, the treble clef
> has been one of Lily's weakest visual aspects IMO.
Please don't forget that lilypond's clef
>> If anyone hasn't done this already, i strongly recomment
>> alt-tab-comparing them (i.e. open them in two maximized windows,
>> both zoomed to 400% or so, and switch windows with alt-tab).
>
> I noticed that i've send files not optimized for
> alt-tab-comparison... Now i attach better ones; s
> I think the more adequate way would be FontForge -> Metafont then.
Well, yes and no. If you plan to add something to LilyPond's fonts,
designing with FontForge might work, but a direct translation of the
outlines to Metafont will most probably fail: You must add some
`metaness' to the MF stuff
> In short, LilyPond's time-keeping system is something of a
> miracle. Why? Because all of these things (and many others besides)
> work *semantically*. Compare this with layers of kludge necessary
> to make barline-crossing durations work in Finale or Sibelius.
>
> FWIW I've always suspected
>> Here are the messages I get in the console:
>>
>> warning: no PostScript font name for font
>> `/usr/X11R6/lib/X11/fonts/misc/10x20.pcf.gz'
>
> It's improbable that you want to use an X11 font with LilyPond.
To be more precise: LilyPond only handles outline fonts. A proper
filter to ensure t
>> To be more precise: LilyPond only handles outline fonts. A proper
>> filter to ensure that is still missing. Reason is that the
>> FontConfig interface doesn't provide a means to implement it.
>> IIRC, there is already a bug tracker issue which covers this.
>
> I don't see why pango or fontc
> In this case, there are 6 organs, spaced about 30 meters apart
> throughout the whole church. This adds the whole space dimension to
> the experience.
Well, there is at least one other place where you could perform pieces
from this contest without organizing additional organs: The Salzburg
Cat
>> I added the variable definition pf = #(make-dynamic-script "pf") to
>> my ly source, but is there any reason why this should not be added
>> to dynamic-scripts-init.ly? That already contains fp as a dynamic
>> marking, why not pf?
>
> I don't see why it couldn't contain more permutations of '
> I have set up my lilypond files to use fonts I like in \paper:
>
> #(define fonts
> (make-pango-font-tree "Centaur MT"
> "ITC Eras"
> "Prestige Elite"
>(/ myStaffSize 20)))
>
> And this works exactly as expecte
[GNU/Linux 3.1.0-rc9 on openSuSE Factory]
[frescobaldi 2.0.0]
[python 2.7.2]
[Qt 4.8.0]
[PyQt4 4.9]
[sip 4.13.1]
[python-poppler-qt4 0.16.2]
This is the first time I try to install and use Frescobaldi. Inspite
of having all prerequisites, the program issues
Could not load the popplerqt4 modul
>> [GNU/Linux 3.1.0-rc9 on openSuSE Factory]
>> [frescobaldi 2.0.0]
>> [python 2.7.2]
>> [Qt 4.8.0]
>> [PyQt4 4.9]
>> [sip 4.13.1]
>> [python-poppler-qt4 0.16.2]
>>
>> This is the first time I try to install and use Frescobaldi. Inspite
>> of having all prerequisites, the program issues
>>
>>
> Be sure to install python-poppler-qt4 for the same Python version as
> Frescobaldi is using.
For me, it was very helpful to do what has been suggested in the
frescobaldi group:
> python
>>> import popplerqt4
This has shown that my libpoppler DLL was out of date...
Now it works.
Wer
Folks,
how can I avoid the vertical lining up of the dots of dotted nots? As
can be seen in the attached image, this looks very ugly. Instead, I
would like to have an `as near to the note head as possible' layout
strategy.
Werner
<>___
lilypond
>> how can I avoid the vertical lining up of the dots of dotted nots?
>> As can be seen in the attached image, this looks very ugly.
>> Instead, I would like to have an `as near to the note head as
>> possible' layout strategy.
>
> Looks like in this case a "gravity" strategy like those with whic
>> how can I avoid the vertical lining up of the dots of dotted nots?
>> [between notes from different voices]
>
> Of course there is the usual LilyPond way.
> http://lilypond.org/doc/v2.14/Documentation/learning/adding-and-removing-engravers
> http://lilypond.org/doc/v2.14/Documentation/interna
>> Good idea, thanks, but this completely prevents alignment of dots.
>
> No no, dots in a chord, within one voice, are still aligned.
OK.
> Remember that dots are not supposed to be aligned between separate
> voices[1].
Interesting. However, if the dots' distances are not too far away
from th
>> Looks like in this case a "gravity" strategy like those with which
>> window managers snap windows to guides would be appropriate: keep
>> aligned unless this makes dots move to far away from their target,
>> in which case the connection gets severed.
>
> surely +1
>
> bugreport?
Mhmm, rathe
> Moving the engraver to the voice context gives rise to a new set of
> problems:
This looks like a plain bug to me which has been hidden up to now.
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Looks like in this case a "gravity" strategy like those with
which window managers snap windows to guides would be
appropriate: keep aligned unless this makes dots move to far away
from their target, in which case the connection gets severed.
>
> Or we'd want both a dot_column
Is there a possibility to tighten the horizontal distances in
polyphony `chords'? The Bärenreiter edition of Bach's Chaconne use
only the half distances, approximately.
Werner
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>> Is there a possibility to tighten the horizontal distances in
>> polyphony `chords'? The Bärenreiter edition of Bach's Chaconne use
>> only the half distances, approximately.
>
> Looks like \voiceOne \voiceThree \voiceFive
> http://lilypond.org/doc/v2.14/Documentation/snippets/simultaneous-n
>> Is there a possibility to tighten the horizontal distances in
>> polyphony `chords'? The Bärenreiter edition of Bach's Chaconne use
>> only the half distances, approximately.
>
> If i remember correctly, these values are hard-coded in c++ code.
> This is one of the things i'm interested in doi
>> This looks like a plain bug to me which has been hidden up to now.
>
> The dot-note collision is probably a bug that can probably be fixed.
>
> There can also be dot-dot collisions, though, if we move that engraver
> and have dots line-up individually for each voice.
>
> When chords mesh,
> <
> Please consider this example too (see attachment) - it's taken from
> Haendel's "Messiah". I find placing the semicolon before extender
> very awkward here - notice the line break. It seems much more "in
> place" when punctuation is after the extender.
I disagree. For me, the only right place
>> Remember that if we sing, say,
>>
>> a - stray:_
>>
>>
>> we actually do
>>
>> a - stra_y:
>>
>> so putting just the punctuation after the melisma is illogical.
>
> I've been asking myself why, if that's the rule (which I don't deny)
> eg. Frank Sinatra sings:
>
> Newww
>> Remember that if we sing, say,
>>
>> a - stray:_
>>
>>
>> we actually do
>>
>> a - stra_y:
>>
>> so putting just the punctuation after the melisma is illogical.
>
> I could agree if we were talking about a melisma that doesn't cross
> a line break. When there's a line break
To all Scheme gurus:
I want to collect the horizontal positions of all bar lines (or
rather, the position of the first beat in a bar) within an output text
file.
Has someone written something similarly, possibly sharing his or her
code?
Werner
_
tion
% `beat-one-note-columns' and an example.
%
% Written originally by Thomas Morley .
% Refined by Werner Lemberg .
%
% tested with LilyPond versions 2.14.2 and 2.15.27
#(define (read-out in pool out symbol)
"Filter out all elements of list IN which are in list POOL, then
append them
> further testing showed some problems. [...]
>
> Currently I've no idea to avoid this, I will think about it
> furthermore.
Thanks!
Werner
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> Its new name is LilyBin. Is that a great name?
Hmm. Is this a dustbin for lilies?
Werner
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> With overlapping parts, Lilypond defaults to separating a dot from its
> notehead by placing the overlapping stem in between. According to
> Gould (p.57) this is incorrect. The overlapped stem should be placed
> after the dot.
>
> \version "2.15.25"
>
> \relative c' {
> << { c2 s c'4. } \\ { g
> The "Experimental Web-based LilyPond Editor" now has a name and a home at
> http://www.lilybin.com!
Very nice!
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> FYI, here is an even worse case, impersonation of James Kass, the
> author of Code200x fonts.
>
> http://www.unicode.org/mail-arch/unicode-ml/y2012-m02/
Indeed. And it is a pity that noone knows what has happened with
James.
Werner
___
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> I suggest that the vertical spacing alrogithm should calculate the
> area between the objects (staves, systems, lyrics etc). See here
> how it would work: http://www.freeimagehosting.net/tsr21
Looks right: The area between horizontal skylines should influence the
spacing. However, I think we
> I may be mistaken, but I don't believe there is currently a way to do
> this. Perhaps post to the Bugs list as a feature request?
http://code.google.com/p/lilypond/issues/detail?id=1388
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> In the issue report you say, LilyPond doesn't currenty (i.e. Nov
> 2010) support OpenType features.
Yes.
> LilyPond does support ligatures and kerning (at least on Linux, it
> seems this doesn't work on Windows). Are these no OpenType features?
Today, kerning is usually realized with a featur
Folks,
consider this example:
\version "2.15.37"
\relative c'' {
c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
\tempo "a very long tempo string" c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
c4 c c c |
c4 c
>> How can I avoid that the \tempo string sticks
>> out to the right?
>
> I forbid line-breaks for the next one or two measures.
>
> \tempo "a very long tempo string" c4 c c c |\noBreak
Thanks, I've found this already by myself; one \noBreak is not enough,
two \noBreak will do. However, this i
> This is the only workaround that comes to my mind, but probably it's
> not what you are looking for:
>
> \tempo \markup {
> \center-column {
> \line { a very long }
> \line { tempo string }
> }
> }
Indeed, this is a viable solution sometimes, e.g. in parts. Ideally,
\tempo should
>> Attached is its output. How can I avoid that the \tempo string
>> sticks out to the right?
>
> I think this is
>
> http://code.google.com/p/lilypond/issues/detail?id=1133
Mhmm, not really, I think. As can be seen in my example, lilypond
increases the spacing in the bar, but the \tempo still
>>> In the following, even though I've turned off the tuplet bracket
>>> stencil, the tuplet number is still placed as though the stencil
>>> was there:
>
> [...] I want the number there, but not have it displaced upwards as
> if the bracket was still there and avoiding the mordent. I found
> su
> simple notation, or Ziffersystem
>
> Also mentioned here
> http://www.gameo.org/encyclopedia/contents/Z544ME.html
> Ziffersystem (Numerical Musical Notation)
No, there is no support yet for Ji$(Q(p(Bnp$(Q(x(B. It shouldn't be too
difficult
to implement this, however. Note that adding a
> with regard to the latest development release (and 7th stable
> release candidate), I wanted to point out a new feature that came in
> as a side-effect of reimplementing footnotes, an optional
> layout-object argument for tweaks:
>
> http://lilypond.org/doc/v2.15/Documentation/notation/the-twea
> I am not sure this syntax is familiar to non-programmers: it might
> make people try using actual brackets. This is, after all, not the
> Extending LilyPond reference.
OK. Another possibility is specifying two lines:
\tweak layout-object #'grob-property value
\tweak #'grob-property value
> I think that this could simplify the syntax by creating a standard
> skeleton for .ly files going from most global to most specific:
>
> \version information
>
> \paper information
>
> \form information (number of bars, repeat locations, bars-per-line,
> rehearsal mark locations, number of sta
> personally I have downloaded all the pdf documentation files into 1
> folder and then I can perform a search in the whole folder (with
> Acrobat Reader, but others do it, too) which delivers a list of all
> results.
>
> this is often more efficient than going through an internet search.
I thin
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