1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: b9526773cf95ca29e3d3352c524718fc8e91c599
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
13 Esta sección del manual contiene plantillas con la partitura de LilyPond
14 ya preparada. Sólo tiene que escribir las notas, lanzar LilyPond y ¡disfrutar de
15 unas hermosas partituras impresas!
17 @c bad node name for ancient notation to avoid confict
23 * Ancient notation templates::
25 * Lilypond-book templates::
30 @appendixsec Single staff
31 @appendixsubsec Notes only
33 El primer ejemplo le ofrece un pentagrama con notas, apropiado para un instrumento
34 solista o un fragmento melódico. Córtelo y péguelo en un archivo,
35 escriba las notas y ¡ha terminado!
37 @lilypond[quote,verbatim,ragged-right]
39 melody = \relative c' {
54 @appendixsubsec Notes and lyrics
56 El siguiente ejemplo es una demostración de una sencilla melodía con letra. Corte y
57 pegue, escriba las notas y luego el texto de la letra. Este ejemplo desactiva
58 el barrado de figuras automático, lo que es frecuente para las partes vocales. Si quiere usar el
59 barrado automático, tendrá que cambiar o convertir en un comentario la línea
62 @lilypond[quote,verbatim,ragged-right]
64 melody = \relative c' {
82 \new Lyrics \lyricsto "one" \text
89 @appendixsubsec Notes and chords
91 ¿Quiere preparar una «lead sheet» u hoja guía de una canción con acordes? ¡No busque más!
93 @lilypond[quote,verbatim,ragged-right]
95 melody = \relative c' {
104 harmonies = \chordmode {
105 c4:m f:min7 g:maj c:aug d2:dim b:sus
111 \set chordChanges = ##t
122 @appendixsubsec Notes, lyrics, and chords.
124 Esta plantilla le permite preparar una canción con melodía, letra y acordes.
126 @lilypond[quote,verbatim,ragged-right]
128 melody = \relative c' {
140 harmonies = \chordmode {
147 \set chordChanges = ##t
154 \new Lyrics \lyricsto "one" \text
161 @node Piano templates
162 @appendixsec Piano templates
163 @appendixsubsec Solo piano
165 He aquí un sencillo sistema de piano.
167 @lilypond[quote,verbatim,ragged-right]
169 upper = \relative c'' {
177 lower = \relative c {
187 \set PianoStaff.instrumentName = "Piano "
188 \new Staff = "upper" \upper
189 \new Staff = "lower" \lower
196 @appendixsubsec Piano and melody with lyrics
198 Aquí tenemos el típico formato de canción: un pentagrama con la melodía y la letra, y debajo el
199 acompañamiento de piano.
201 @lilypond[quote,verbatim,ragged-right]
203 melody = \relative c'' {
215 upper = \relative c'' {
223 lower = \relative c {
237 \new Lyrics \lyricsto mel \text
240 \new Staff = "upper" \upper
241 \new Staff = "lower" \lower
245 \context { \RemoveEmptyStaffContext }
252 @appendixsubsec Piano centered lyrics
254 En lugar de tener un pentagrama dedicado a la melodía y la letra puede colocar
255 la letra en medio de los pentagramas del piano (y omitir el pentagrama separado para la melodía).
257 @lilypond[quote,verbatim,ragged-right]
259 upper = \relative c'' {
267 lower = \relative c {
281 \new Staff = upper { \new Voice = "singer" \upper }
282 \new Lyrics \lyricsto "singer" \text
289 \context { \GrandStaff \accepts "Lyrics" }
290 \context { \Lyrics \consists "Bar_engraver" }
297 @appendixsubsec Piano centered dynamics
299 Muchas partituras de piano tienen las indicaciones dinámicas centradas entre los dos
300 pentagramas. La realización de esto necesita un poco de trucaje, pero
301 ya que la plantilla está aquí mismo, no tiene que hacer el trucaje
304 @lilypond[quote,verbatim,ragged-right]
306 upper = \relative c'' {
314 lower = \relative c {
328 s2\sustainDown s2\sustainUp
333 \new Staff = "upper" \upper
334 \new Dynamics = "dynamics" \dynamics
335 \new Staff = "lower" <<
339 \new Dynamics = "pedal" \pedal
343 \type "Engraver_group"
345 \alias Voice % So that \cresc works, for example.
346 \consists "Output_property_engraver"
348 \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
349 \override DynamicLineSpanner #'Y-offset = #0
350 pedalSustainStrings = #'("Ped." "*Ped." "*")
351 pedalUnaCordaStrings = #'("una corda" "" "tre corde")
353 \consists "Piano_pedal_engraver"
354 \consists "Script_engraver"
355 \consists "Dynamic_engraver"
356 \consists "Text_engraver"
358 \override TextScript #'font-size = #2
359 \override TextScript #'font-shape = #'italic
361 \consists "Skip_event_swallow_translator"
363 \consists "Axis_group_engraver"
373 \new Staff = "upper" << \upper \dynamics >>
374 \new Staff = "lower" << \lower \dynamics >>
375 \new Dynamics = "pedal" \pedal
379 \type "Performer_group"
381 \consists "Piano_pedal_performer"
393 @appendixsec String quartet
394 @appendixsubsec String quartet
396 Esta plantilla es una demostración de un cuarteto de cuerda. También usa una sección @code{\global}
397 para las indicaciones del compás y de la armadura de la tonalidad.
399 @lilypond[quote,verbatim,ragged-right]
407 violinOne = \new Voice { \relative c''{
408 \set Staff.instrumentName = "Violin 1 "
413 violinTwo = \new Voice { \relative c''{
414 \set Staff.instrumentName = "Violin 2 "
419 viola = \new Voice { \relative c' {
420 \set Staff.instrumentName = "Viola "
426 cello = \new Voice { \relative c' {
427 \set Staff.instrumentName = "Cello "
436 \new Staff << \global \violinOne >>
437 \new Staff << \global \violinTwo >>
438 \new Staff << \global \viola >>
439 \new Staff << \global \cello >>
446 @appendixsubsec String quartet parts
448 El ejemplo anterior produce un bonito cuarteto de cuerda, pero ¿y si necesitamos
449 imprimir las particellas? Esta plantilla es una demostración de cómo aprovechar la posibilidad
450 de la instrucción @code{\tag} para dividir una pieza fácilmente en particellas individuales.
452 Tenemos que dividir esta plantilla en archivos independientes; los nombres de archivo
453 están incluidos en forma de comentarios al comienzo de cada archivo. @code{piece.ly}
454 contiene todas las definiciones musicales. Los otros archivos (@code{score.ly},
455 @code{vn1.ly}, @code{vn2.ly}, @code{vla.ly} y
456 @code{vlc.ly}) producen la particella correspondiente.
467 Violinone = \new Voice { \relative c''{
468 \set Staff.instrumentName = "Violin 1 "
472 \bar "|." }} %*********************************
473 Violintwo = \new Voice { \relative c''{
474 \set Staff.instrumentName = "Violin 2 "
478 \bar "|." }} %*********************************
479 Viola = \new Voice { \relative c' {
480 \set Staff.instrumentName = "Viola "
485 \bar "|." }} %*********************************
486 Cello = \new Voice { \relative c' {
487 \set Staff.instrumentName = "Cello "
492 \bar "|."}} %**********************************
496 \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> }
497 \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> }
498 \tag #'score \tag #'vla \new Staff { << \global \Viola>> }
499 \tag #'score \tag #'vlc \new Staff { << \global \Cello>> }
508 #(set-global-staff-size 14)
510 \new StaffGroup \keepWithTag #'score \music
520 \keepWithTag #'vn1 \music
529 \keepWithTag #'vn2 \music
538 \keepWithTag #'vla \music
547 \keepWithTag #'vlc \music
553 @node Vocal ensembles
554 @appendixsec Vocal ensembles
556 @appendixsubsec SATB vocal score
558 Aquí tenemos una partitura vocal estándar para coro SATB a cuatro voces. Con conjuntos más grandes,
559 suele ser útil escribir una sección que luego será incluida en todas las partes.
560 Por ejemplo, la indicación de compás y la armadura de la tonalidad son casi siempre las mismas
561 para todas las partes.
563 @lilypond[quote,verbatim,ragged-right]
570 sopMusic = \relative c'' {
573 sopWords = \lyricmode {
577 altoMusic = \relative c' {
580 altoWords =\lyricmode {
584 tenorMusic = \relative c' {
587 tenorWords = \lyricmode {
591 bassMusic = \relative c {
594 bassWords = \lyricmode {
600 \new Lyrics = sopranos { s1 }
601 \new Staff = women <<
603 "sopranos" { \voiceOne << \global \sopMusic >> }
605 "altos" { \voiceTwo << \global \altoMusic >> }
607 \new Lyrics = "altos" { s1 }
608 \new Lyrics = "tenors" { s1 }
612 "tenors" { \voiceOne <<\global \tenorMusic >> }
614 "basses" { \voiceTwo <<\global \bassMusic >> }
616 \new Lyrics = basses { s1 }
618 \context Lyrics = sopranos \lyricsto sopranos \sopWords
619 \context Lyrics = altos \lyricsto altos \altoWords
620 \context Lyrics = tenors \lyricsto tenors \tenorWords
621 \context Lyrics = basses \lyricsto basses \bassWords
626 % a little smaller so lyrics
627 % can be closer to the staff
629 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
636 @appendixsubsec SATB vocal score and automatic piano reduction
638 Esta plantilla añade una reducción automática para piano a la partitura vocal para coro SATB.
639 Es una demostración de uno de los puntos fuertes de LilyPond: podemos
640 usar una definición musical más de una vez. Si hace algún cambio en las notas de la parte vocal
641 (como p.ej. tenorMusic), los cambios se aplicarán también a la
644 @lilypond[quote,verbatim,ragged-right]
651 sopMusic = \relative c'' {
654 sopWords = \lyricmode {
658 altoMusic = \relative c' {
661 altoWords =\lyricmode {
665 tenorMusic = \relative c' {
668 tenorWords = \lyricmode {
672 bassMusic = \relative c {
675 bassWords = \lyricmode {
682 \new Lyrics = sopranos { s1 }
683 \new Staff = women <<
685 "sopranos" { \voiceOne << \global \sopMusic >> }
687 "altos" { \voiceTwo << \global \altoMusic >> }
689 \new Lyrics = "altos" { s1 }
690 \new Lyrics = "tenors" { s1 }
694 "tenors" { \voiceOne <<\global \tenorMusic >> }
696 "basses" { \voiceTwo <<\global \bassMusic >> }
698 \new Lyrics = basses { s1 }
700 \context Lyrics = sopranos \lyricsto sopranos \sopWords
701 \context Lyrics = altos \lyricsto altos \altoWords
702 \context Lyrics = tenors \lyricsto tenors \tenorWords
703 \context Lyrics = basses \lyricsto basses \bassWords
707 \set Staff.printPartCombineTexts = ##f
709 << \global \sopMusic >>
710 << \global \altoMusic >>
714 \set Staff.printPartCombineTexts = ##f
716 << \global \tenorMusic >>
717 << \global \bassMusic >>
723 % a little smaller so lyrics
724 % can be closer to the staff
726 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
732 @appendixsubsec SATB with aligned contexts
734 Aquí todas las líneas de texto se colocan usando @code{alignAboveContext}
735 y @code{alignBelowContext}.
737 @lilypond[quote,verbatim,ragged-right]
744 sopMusic = \relative c'' {
747 sopWords = \lyricmode {
751 altoMusic = \relative c' {
754 altoWords =\lyricmode {
758 tenorMusic = \relative c' {
761 tenorWords = \lyricmode {
765 bassMusic = \relative c {
768 bassWords = \lyricmode {
774 \new Staff = women <<
776 "sopranos" { \voiceOne << \global \sopMusic >> }
778 "altos" { \voiceTwo << \global \altoMusic >> }
780 \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
781 \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords
782 % we could remove the line about this with the line below, since we want
783 % the alto lyrics to be below the alto Voice anyway.
784 % \new Lyrics \lyricsto altos \altoWords
789 "tenors" { \voiceOne <<\global \tenorMusic >> }
791 "basses" { \voiceTwo <<\global \bassMusic >> }
794 \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
795 \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords
796 % again, we could replace the line above this with the line below.
797 % \new Lyrics \lyricsto basses \bassWords
802 % a little smaller so lyrics
803 % can be closer to the staff
805 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
813 \new Staff = women <<
815 "sopranos" { \voiceOne << \global \sopMusic >> }
817 "altos" { \voiceTwo << \global \altoMusic >> }
820 \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
821 \new Lyrics \lyricsto altos \altoWords
826 "tenors" { \voiceOne <<\global \tenorMusic >> }
828 "basses" { \voiceTwo <<\global \bassMusic >> }
831 \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
832 \new Lyrics \lyricsto basses \bassWords
837 % a little smaller so lyrics
838 % can be closer to the staff
840 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
847 @c bad node name to avoid node name confict
848 @node Ancient notation templates
849 @appendixsec Ancient notation templates
851 @appendixsubsec Transcription of mensural music
853 Cuando se transcribe música mensural, es útil un «incipit» al principio de la pieza
854 para indicar la tonalidad y el compás originales. Aunque hoy en día
855 los músicos están acostumbrados a las barras de compás para reconocer más rápidamente los patrones
856 rítmicos, las líneas divisorias no se habían inventado aún en el período de la música mensural;
857 de hecho, el compás solía cambiar cada pocas notas.
858 A modo de compromiso, las líneas de compás se suelen imprimir entre los pentagramas
859 en vez de hacerlo sobre ellos.
861 @lilypond[quote,verbatim,line-width=11.0\cm]
865 \set Score.skipBars = ##t
868 \once \override Score.SystemStartBracket #'transparent = ##t
869 \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
872 \once \override Staff.TimeSignature #'style = #'neomensural
873 \override Voice.NoteHead #'style = #'neomensural
874 \override Voice.Rest #'style = #'neomensural
875 \set Staff.printKeyCancellation = ##f
876 \cadenzaOn % turn off bar lines
878 \once \override Staff.BarLine #'transparent = ##f
880 \skip 1*1 % need this extra \skip such that clef change comes
885 \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
886 \cadenzaOff % turn bar lines on again
887 \once \override Staff.Clef #'full-size-change = ##t
888 \set Staff.forceClef = ##t
891 \override Voice.NoteHead #'style = #'default
892 \override Voice.Rest #'style = #'default
894 % FIXME: setting printKeyCancellation back to #t must not
895 % occur in the first bar after the incipit. Dto. for forceClef.
896 % Therefore, we need an extra \skip.
898 \set Staff.printKeyCancellation = ##t
899 \set Staff.forceClef = ##f
901 \skip 1*7 % the actual music
903 % let finis bar go through all staves
904 \override Staff.BarLine #'transparent = ##f
912 \set Staff.instrumentName = "Discantus "
915 \clef "neomensural-c1"
917 \skip 1*8 % eight bars
927 \once \override NoteHead #'transparent = ##t c'1 |
932 discantusLyrics = \lyricmode {
948 \set Staff.instrumentName = "Altus "
951 \clef "neomensural-c3"
954 \skip 1*7 % seven bars
959 r2 g2. e4 fis g | % two bars
961 fis g4.( fis16 e fis4) |
963 \once \override NoteHead #'transparent = ##t g1 |
968 altusLyrics = \lyricmode {
973 Ju -- bi -- la -- te | % two bars
982 \set Staff.instrumentName = "Tenor "
985 \clef "neomensural-c4"
998 r2 d'2. d'4 b e' | % two bars
999 \once \override NoteHead #'transparent = ##t e'1 |
1004 tenorLyrics = \lyricmode {
1009 Ju -- bi -- la -- te | % two bars
1016 \set Staff.instrumentName = "Bassus "
1020 r\maxima % eight bars
1031 \once \override NoteHead #'transparent = ##t e1 |
1036 bassusLyrics = \lyricmode {
1047 \new StaffGroup = choirStaff <<
1049 "discantusNotes" << \global \discantusNotes >>
1051 "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
1053 "altusNotes" << \global \altusNotes >>
1055 "altusLyrics" \lyricsto altusNotes { \altusLyrics }
1057 "tenorNotes" << \global \tenorNotes >>
1059 "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
1061 "bassusNotes" << \global \bassusNotes >>
1063 "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
1070 \override BarLine #'transparent = ##t
1072 % incipit should not start with a start delimiter
1073 \remove "System_start_delimiter_engraver"
1079 \override Slur #'transparent = ##t
1081 % Comment in the below "\remove" command to allow line
1082 % breaking also at those barlines where a note overlaps
1083 % into the next bar. The command is commented out in this
1084 % short example score, but especially for large scores, you
1085 % will typically yield better line breaking and thus improve
1086 % overall spacing if you comment in the following command.
1087 %\remove "Forbid_line_break_engraver"
1094 @appendixsubsec Gregorian transcription template
1096 Este ejemplo es una demostración de cómo hacer transcripción moderna de Canto
1097 Gregoriano. La música gregoriana no tiene compás ni plicas; usa solamente cabezas de
1098 nota de blanca y negra, y marcas especiales que indican silencios de distinta longitud.
1100 @lilypond[quote,verbatim,ragged-right]
1101 \include "gregorian-init.ly"
1104 chant = \relative c' {
1105 \set Score.timing = ##f
1106 f4 a2 \divisioMinima
1107 g4 b a2 f2 \divisioMaior
1108 g4( f) f( g) a2 \finalis
1111 verba = \lyricmode {
1112 Lo -- rem ip -- sum do -- lor sit a -- met
1117 \new Voice = "melody" {
1120 \new Lyrics = "one" \lyricsto melody \verba
1126 \remove "Time_signature_engraver"
1127 \remove "Bar_engraver"
1128 \override Stem #'transparent = ##t
1132 \override Stem #'length = #0
1144 @appendixsec Jazz combo
1146 Éste es un ejemplo mucho más complicado, para un conjunto de jazz. Fíjese en que todos los
1147 instrumentos están escritos en @code{\key c \major}. Esto se refiere a la tonalidad en tono de concierto;
1148 LilyPond transporta automáticamente la tonalidad si la música está dentro de una
1149 sección @code{\transpose}.
1151 @c TODO must clean up this jazz combo example
1152 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1153 @c - one global section, instead of "global" (time) and "key"
1154 @c - does it need those wierd macros? sl, nsl, etc.
1155 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1156 @c make whatever changes I feel like.
1158 @c FIXME: produces a warning ; key change merge.
1159 @c The `line-width' argument is for the \header.
1161 @lilypond[quote,verbatim,ragged-right,line-width]
1171 "LilyPond example file by Amelie Zapf,"
1175 texidoc = "Jazz tune for combo
1176 (horns, guitar, piano, bass, drums)."
1179 #(set-global-staff-size 16)
1180 \include "english.ly"
1182 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1185 \override NoteHead #'style = #'slash
1186 \override Stem #'transparent = ##t
1189 \revert NoteHead #'style
1190 \revert Stem #'transparent
1192 cr = \override NoteHead #'style = #'cross
1193 ncr = \revert NoteHead #'style
1195 %% insert chord name style stuff here.
1200 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1206 Key = { \key c \major }
1208 % ############ Horns ############
1210 % ------ Trumpet ------
1211 trpt = \transpose c d \relative c'' {
1215 trpharmony = \transpose c' d {
1220 \set Staff.instrumentName = #"Trumpet"
1227 % ------ Alto Saxophone ------
1228 alto = \transpose c a \relative c' {
1232 altoharmony = \transpose c' a {
1237 \set Staff.instrumentName = #"Alto Sax"
1244 % ------ Baritone Saxophone ------
1245 bari = \transpose c a' \relative c {
1247 c1 c \sl d4^"Solo" d d d \nsl
1249 bariharmony = \transpose c' a \chordmode {
1250 \jzchords s1 s d2:maj e:m7
1254 \set Staff.instrumentName = #"Bari Sax"
1261 % ------ Trombone ------
1262 tbone = \relative c {
1266 tboneharmony = \chordmode {
1271 \set Staff.instrumentName = #"Trombone"
1278 % ############ Rhythm Section #############
1280 % ------ Guitar ------
1281 gtr = \relative c'' {
1283 c1 \sl b4 b b b \nsl c1
1285 gtrharmony = \chordmode {
1291 \set Staff.instrumentName = #"Guitar"
1298 %% ------ Piano ------
1299 rhUpper = \relative c'' {
1304 rhLower = \relative c' {
1310 lhUpper = \relative c' {
1315 lhLower = \relative c {
1324 \set Staff.midiInstrument = "acoustic grand"
1326 \new Voice = "one" \rhUpper
1327 \new Voice = "two" \rhLower
1333 \set Staff.midiInstrument = "acoustic grand"
1335 \new Voice = "one" \lhUpper
1336 \new Voice = "two" \lhLower
1342 \set PianoStaff.instrumentName = #"Piano"
1343 \new Staff = "upper" \PianoRH
1344 \new Staff = "lower" \PianoLH
1348 % ------ Bass Guitar ------
1349 Bass = \relative c {
1355 \set Staff.instrumentName = #"Bass"
1362 % ------ Drums ------
1364 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1371 bd4 s bd s bd s bd s bd s bd s
1377 \set DrumStaff.instrumentName = #"Drums"
1378 \new DrumVoice { \voiceOne \up }
1379 \new DrumVoice { \voiceTwo \down }
1383 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1387 \new StaffGroup = "horns" <<
1388 \new Staff = "trumpet" \trumpet
1389 \new Staff = "altosax" \altosax
1390 \new ChordNames = "barichords" \bariharmony
1391 \new Staff = "barisax" \barisax
1392 \new Staff = "trombone" \trombone
1395 \new StaffGroup = "rhythm" <<
1396 \new ChordNames = "chords" \gtrharmony
1397 \new Staff = "guitar" \guitar
1398 \new PianoStaff = "piano" \piano
1399 \new Staff = "bass" \bass
1400 \new DrumStaff { \drumContents }
1405 \context { \RemoveEmptyStaffContext }
1408 \override BarNumber #'padding = #3
1409 \override RehearsalMark #'padding = #2
1420 This isn't very useful, and only duplicates material in
1421 "global issues". And if this info changes, this section often
1424 @no de Other templates
1425 @se ction Other templates
1426 @su bsection All headers
1428 This template displays all available headers. Some of them are only
1429 used in the Mutopia project; they don't affect the printed output at
1430 all. They are used if you want the piece to be listed with different
1431 information in the Mutopia database than you wish to have printed on the
1432 music. For example, Mutopia lists the composer of the famous D major
1433 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1434 "Petr Tchaikowski" on your music.
1436 @ The `line-width' is for \header.
1437 @li lypond[quote,verbatim,ragged-right,line-width]
1440 dedication = "dedication"
1442 subtitle = "Subtitle"
1443 subsubtitle = "Subsubtitle"
1444 composer = "Composer (xxxx-yyyy)"
1448 instrument = "Instrument"
1449 arranger = "Arranger"
1451 texttranslator = "Translator"
1452 copyright = "public domain"
1454 % These are headers used by the Mutopia Project
1455 % http://www.mutopiaproject.org/
1457 mutopiacomposer = ""
1459 mutopiainstrument = ""
1460 date = "composer's dates"
1462 maintainer = "your name here"
1463 maintainerEmail = "your email here"
1464 maintainerWeb = "your home page"
1465 lastupdated = "2004/Aug/26"
1487 @node Lilypond-book templates
1488 @appendixsec Lilypond-book templates
1490 Estas plantillas se usan para @code{lilypond-book}. Si no está familiarizado con este
1491 programa, consulte @rprogram{LilyPond-book}.
1493 @appendixsubsec LaTeX
1495 Podemos insertar fragmentos de LilyPond dentro de un documento de LaTeX.
1498 \documentclass[]@{article@}
1502 Texto normal en LaTeX.
1520 @appendixsubsec Texinfo
1522 Podemos insertar fragmentos de LilyPond dentro de Texinfo; de hecho, todo el presente manual
1523 está escrito en Texinfo.
1531 @@lilypond[verbatim,fragment,ragged-right]
1535 Más texto en Texinfo
1537 @@lilypond[verbatim,fragment,ragged-right]