Fixed errors in Catalan translation

[lilypond.git] / Documentation / learning / common-notation.itely

diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index 586bd0d40f7434e8d798c2a25d5861ce299459a7..8c833c76f56e81f2d5e91456ba0dc422125dd185 100644 (file)
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
     Guide, node Updating translation committishes..
 @end ignore
 

-@c \version "2.13.36"
+@c \version "2.17.28"

 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)


@@ -51,7 +51,7 @@ This section introduces common notation that is used for one voice
 on one staff.
 
 @menu
 on one staff.
 
 @menu

-* Bar checks::
+* Bar lines and bar checks::

 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::
 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::


@@ -60,9 +60,32 @@ on one staff.
 * Advanced rhythmic commands::
 @end menu
 
 * Advanced rhythmic commands::
 @end menu
 

+@node Bar lines and bar checks
+@subsection Bar lines and bar checks
+
+@menu
+* Bar lines::
+* Bar checks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+
+Single bar lines are automatically placed in the music so
+there is no need to add them manually.  Other types of bar
+lines are added using @code{\bar}, for example
+@code{\bar "||"} for a double bar line, or @code{\bar "|."}
+for an ending bar line.  For a full list of bar lines see
+the @ruser{Bar lines}.
+
+@lilypond[verbatim,quote,relative=2]
+g1 e1 \bar "||" c2. c'4 \bar "|."
+@end lilypond

 
 @node Bar checks
 
 @node Bar checks

-@subsection Bar checks
+@unnumberedsubsubsec Bar checks
+

 
 Though not strictly necessary, @emph{bar checks} should be
 used in the input code to show where bar lines are expected
 
 Though not strictly necessary, @emph{bar checks} should be
 used in the input code to show where bar lines are expected


@@ -84,11 +107,19 @@ Notation Reference:
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 

+@menu
+* Accidentals::
+* Key signatures::
+* Warning key signatures and pitches::
+@end menu
+

 @warning{New users are often confused by these -- please read the
 warning at the bottom of this page, especially if you are not
 familiar with music theory!}
 
 @warning{New users are often confused by these -- please read the
 warning at the bottom of this page, especially if you are not
 familiar with music theory!}
 

-@subheading Accidentals
+@node Accidentals
+@unnumberedsubsubsec Accidentals
+

 
 @cindex accidentals
 @cindex accidentals and key signatures
 
 @cindex accidentals
 @cindex accidentals and key signatures


@@ -120,7 +151,10 @@ cis4 ees fisis, aeses
 @end lilypond
 
 @cindex key signature, setting
 @end lilypond
 
 @cindex key signature, setting

-@subheading Key signatures
+
+@node Key signatures
+@unnumberedsubsubsec Key signatures
+

 
 @cindex key signature
 @cindex major
 
 @cindex key signature
 @cindex major


@@ -151,7 +185,9 @@ a1 |
 
 @smallspace
 
 
 @smallspace
 

-@subheading Warning: key signatures and pitches
+@node Warning key signatures and pitches
+@unnumberedsubsubsec Warning: key signatures and pitches
+

 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},


@@ -197,7 +233,7 @@ aes4 c b c
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,

-then you @emph{must} add @code{-is} or @code{-es} to the note
+then you @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note

 name!
 
 Adding all alterations explicitly might require a little more
 name!
 
 Adding all alterations explicitly might require a little more


@@ -228,7 +264,15 @@ Notation Reference:
 @funindex ( ... )
 @funindex \( ... \)
 
 @funindex ( ... )
 @funindex \( ... \)
 

-@subheading Ties
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Warnings slurs vs. ties::
+@end menu
+
+@node Ties
+@unnumberedsubsubsec Ties

 
 
 Music Glossary: @rglos{tie}.
 
 
 Music Glossary: @rglos{tie}.


@@ -240,7 +284,8 @@ first note being tied.
 g4~ g c2~ | c4~ c8 a~ a2 |
 @end lilypond
 
 g4~ g c2~ | c4~ c8 a~ a2 |
 @end lilypond
 

-@subheading Slurs
+@node Slurs
+@unnumberedsubsubsec Slurs

 
 
 Music Glossary: @rglos{slur}.
 
 
 Music Glossary: @rglos{slur}.


@@ -253,7 +298,9 @@ starting note and ending note are marked with @code{(} and
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 

-@subheading Phrasing slurs
+@node Phrasing slurs
+@unnumberedsubsubsec Phrasing slurs
+

 
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 
 
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 


@@ -269,7 +316,10 @@ g4\( g8( a) b( c) b4\)
 @smallspace
 
 @cindex slurs versus ties
 @smallspace
 
 @cindex slurs versus ties

-@subheading Warnings: slurs vs. ties
+
+@node Warnings slurs vs. ties
+@unnumberedsubsubsec Warnings: slurs vs. ties
+

 
 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
 
 
 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
 


@@ -294,8 +344,15 @@ Notation Reference:
 @node Articulation and dynamics
 @subsection Articulation and dynamics
 
 @node Articulation and dynamics
 @subsection Articulation and dynamics
 

+@menu
+* Articulations::
+* Fingerings::
+* Dynamics::
+@end menu
+
+@node Articulations
+@unnumberedsubsubsec Articulations

 
 

-@subheading Articulations

 
 @cindex articulation
 @cindex accent
 
 @cindex articulation
 @cindex accent


@@ -307,11 +364,13 @@ Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]

-c4-^ c-+ c-- c-|
+c4-^ c-+ c-- c-!

 c4-> c-. c2-_
 @end lilypond
 
 c4-> c-. c2-_
 @end lilypond
 

-@subheading Fingerings
+@node Fingerings
+@unnumberedsubsubsec Fingerings
+

 
 @cindex fingering
 
 
 @cindex fingering
 


@@ -337,7 +396,9 @@ to let LilyPond determine the articulation directions.
 c4_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 c4_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 

-@subheading Dynamics
+@node Dynamics
+@unnumberedsubsubsec Dynamics
+

 
 @cindex dynamics
 @cindex decrescendo
 
 @cindex dynamics
 @cindex decrescendo


@@ -471,7 +532,15 @@ Notation Reference:
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 

-@subheading Partial measure
+@menu
+* Partial measure::
+* Tuplets::
+* Grace notes::
+@end menu
+
+@node Partial measure
+@unnumberedsubsubsec Partial measure
+

 
 @cindex pickup
 @cindex anacrusis
 
 @cindex pickup
 @cindex anacrusis


@@ -491,30 +560,35 @@ is a quarter note pickup and @code{\partial 8} an eighth note.
 c2 d |
 @end lilypond
 
 c2 d |
 @end lilypond
 

-@subheading Tuplets
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+

 
 @cindex tuplets
 @cindex triplets
 
 
 @cindex tuplets
 @cindex triplets
 

-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet

 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 
 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 

-@notation{Tuplets} are made with the @code{\times} keyword.  It
+@notation{Tuplets} are made with the @code{\tuplet} keyword.  It

 takes two arguments: a fraction and a piece of music.  The
 takes two arguments: a fraction and a piece of music.  The

-duration of the piece of music is multiplied by the fraction.
-Triplets make notes occupy 2/3 of their notated duration, so a
-@notation{triplet} has 2/3 as its fraction
+fraction is the number of tuplet notes over the number 
+of notes normally filling the same duration.
+For triplets, there are three notes instead of two, so
+@notation{triplets} have 3/2 as their fraction.

 
 @lilypond[verbatim,quote,relative=2]
 
 @lilypond[verbatim,quote,relative=2]

-\times 2/3 { f8 g a }
-\times 2/3 { c8 r c }
-\times 2/3 { f,8 g16[ a g a] }
-\times 2/3 { d4 a8 }
+\tuplet 3/2 { f8 g a }
+\tuplet 3/2 { c8 r c }
+\tuplet 3/2 { f,8 g16[ a g a] }
+\tuplet 3/2 { d4 a8 }

 @end lilypond
 
 @end lilypond
 

-@subheading Grace notes
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+

 
 @cindex grace notes
 @cindex acciaccatura
 
 @cindex grace notes
 @cindex acciaccatura


@@ -535,7 +609,7 @@ although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]

-c2 \grace { a32[ b] } c2 |
+c2 \grace { a32 b } c2 |

 c2 \appoggiatura b16 c2 |
 c2 \acciaccatura b16 c2 |
 @end lilypond
 c2 \appoggiatura b16 c2 |
 c2 \acciaccatura b16 c2 |
 @end lilypond


@@ -576,6 +650,12 @@ than one voice on the same staff.
 @cindex compound music expression
 @cindex music expression, compound
 
 @cindex compound music expression
 @cindex music expression, compound
 

+@menu
+* Analogy mathematical expressions::
+* Simultaneous music expressions multiple staves::
+* Simultaneous music expressions single staff::
+@end menu
+

 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 


@@ -599,7 +679,9 @@ one).  The result is another music expression:
 { { a4 g } f4 g }
 @end lilypond
 
 { { a4 g } f4 g }
 @end lilypond
 

-@subheading Analogy: mathematical expressions
+@node Analogy mathematical expressions
+@unnumberedsubsubsec Analogy: mathematical expressions
+

 
 This mechanism is similar to mathematical formulas: a big formula
 is created by composing small formulas.  Such formulas are called
 
 This mechanism is similar to mathematical formulas: a big formula
 is created by composing small formulas.  Such formulas are called


@@ -625,7 +707,9 @@ arbitrarily deep, which is necessary for complex music like
 polyphonic scores.
 
 
 polyphonic scores.
 
 

-@subheading Simultaneous music expressions: multiple staves
+@node Simultaneous music expressions multiple staves
+@unnumberedsubsubsec Simultaneous music expressions: multiple staves
+

 
 @cindex multiple staves
 @cindex staves, multiple
 
 @cindex multiple staves
 @cindex staves, multiple


@@ -668,12 +752,14 @@ different amount of space.  LilyPond does not care how much (or
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 

-@warning{each note is relative to the previous note in
-the input, not relative to the @code{c''} in the initial
+@warning{each note is relative to the previous note in the input,
+only the first is relative to the @code{c''} in the initial

 @code{@bs{}relative} command.}
 
 
 @code{@bs{}relative} command.}
 
 

-@subheading Simultaneous music expressions: single staff
+@node Simultaneous music expressions single staff
+@unnumberedsubsubsec Simultaneous music expressions: single staff
+

 
 To determine the number of staves in a piece, LilyPond looks at
 the beginning of the first expression.  If there is a single note,
 
 To determine the number of staves in a piece, LilyPond looks at
 the beginning of the first expression.  If there is a single note,


@@ -758,9 +844,6 @@ than polyrhythmic scores.
 }
 @end lilypond
 
 }
 @end lilypond
 

-
-
-

 @node Staff groups
 @subsection Staff groups
 
 @node Staff groups
 @subsection Staff groups
 


@@ -849,7 +932,8 @@ ties with chords.  They must be placed outside the angle brackets.
 
 @lilypond[verbatim,quote,relative=2]
 r4 <c e g>~ <c f a>2 |
 
 @lilypond[verbatim,quote,relative=2]
 r4 <c e g>~ <c f a>2 |

-<c e g>8[ <c f a> <c e g> <c f a>] <c e g>\>[ <c f a> <c f a> <c e g>]\! |
+<c e g>8[ <c f a> <c e g> <c f a>]
+  <c e g>8\>[ <c f a> <c f a> <c e g>]\! |

 r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
 @end lilypond
 
 r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
 @end lilypond
 


@@ -936,12 +1020,7 @@ separating each syllable with a space.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@warning{It is essential that the final syllable is separated from
-the terminating curly bracket by a space or a newline, or it will be
-assumed to be part of the syllable, giving rise to an obscure
-error, see @rprogram{Apparent error in ../ly/init.ly}.}
-
-Note the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<<@dots{}>>}} around the

 whole piece to show that the music and lyrics are to occur at the
 same time.
 
 whole piece to show that the music and lyrics are to occur at the
 same time.
 


@@ -1252,7 +1331,7 @@ of another variable, giving a way of shortening the input if a
 section of music is repeated many times.
 
 @lilypond[verbatim,quote]
 section of music is repeated many times.
 
 @lilypond[verbatim,quote]

-tripletA = \times 2/3 { c,8 e g }
+tripletA = \tuplet 3/2 { c,8 e g }

 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {


@@ -1315,7 +1394,7 @@ underneath the version number.
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in

-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.

 
 
 @node Absolute note names
 
 
 @node Absolute note names


@@ -1329,14 +1408,13 @@ above the music.  More information on titling can be found in
 @cindex absolute note names
 
 So far we have always used @code{\relative} to define pitches.
 @cindex absolute note names
 
 So far we have always used @code{\relative} to define pitches.

-This is the easiest way to enter most music, but another way of
-defining pitches exists: absolute mode.
+This is usually the fastest way to enter most music.  Without
+@code{\relative}, pitches are interpreted in absolute mode.

 
 

-If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values.  A @code{c'} will always mean middle C, a
-@code{b} will always mean the note one step below middle C, and a
-@code{g,} will always mean the note on the bottom staff of the
-bass clef.
+In this mode, LilyPond treats all pitches as absolute values.  A
+@code{c'} will always mean middle C, a @code{b} will always mean
+the note one step below middle C, and a @code{g,} will always mean
+the note on the bottom staff of the bass clef.

 
 @lilypond[verbatim,quote]
 {
 
 @lilypond[verbatim,quote]
 {


@@ -1396,9 +1474,25 @@ to find.
 
 However, absolute mode is useful for music which has large
 intervals, and is extremely useful for computer-generated LilyPond
 
 However, absolute mode is useful for music which has large
 intervals, and is extremely useful for computer-generated LilyPond

-files.
+files.  When cutting and pasting melody fragments, absolute mode
+preserves the original octave.

 
 

+Sometimes music is arranged in more complex ways.  If you are
+using @code{\relative} inside of @code{\relative}, the outer and
+inner relative sections are independent:

 
 

+@lilypond[verbatim,quote]
+\relative c { c'4 \relative c'' { f g } c }
+@end lilypond
+
+@funindex \absolute
+If you are using absolute music inside of relative, you'll need to
+mark the absolute music explicitly with @code{\absolute} to stop
+it from becoming part of the relative music:
+
+@lilypond[verbatim,quote]
+\relative c { c'4 \absolute { f'' g'' } c }
+@end lilypond

 
 @node After the tutorial
 @subsection After the tutorial
 
 @node After the tutorial
 @subsection After the tutorial