Doc-fr: Learning Manual full update

[lilypond.git] / Documentation / user / ancient.itely

diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely
index 56960581c915d42062e857ee48c5dd1f819d2c27..c6ae58e19ba9c5786e65fc6fb581d24164918cee 100644 (file)
--- a/Documentation/user/ancient.itely
+++ b/Documentation/user/ancient.itely
@@ -7,7 +7,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 

-@c \version "2.11.61"
+@c \version "2.12.0"

 
 @node Ancient notation
 @section Ancient notation
 
 @node Ancient notation
 @section Ancient notation


@@ -71,7 +71,7 @@ Three styles are available for typesetting Gregorian chant:
 @item @emph{Editio Vaticana} is a complete style for
 Gregorian chant, following the appearance of the Solesmes
 editions, the official chant books of the Vatican since 1904.
 @item @emph{Editio Vaticana} is a complete style for
 Gregorian chant, following the appearance of the Solesmes
 editions, the official chant books of the Vatican since 1904.

-Lilypond has support for all the notational signs used in this
+LilyPond has support for all the notational signs used in this

 style, including ligatures, @emph{custodes}, and special signs
 such as the quilisma and the oriscus.
 
 style, including ligatures, @emph{custodes}, and special signs
 such as the quilisma and the oriscus.
 


@@ -728,7 +728,7 @@ There are no 32th and 64th rests specifically for the mensural or
 neo-mensural style.  Instead, the rests from the default style will be
 taken.
 
 neo-mensural style.  Instead, the rests from the default style will be
 taken.
 

-See @rlsr{Pitches,rests} for a chart of all rests.
+See @rlsr{Ancient notation} for a chart of all rests.

 
 @seealso
 Notation Reference: @ref{Rests}, gives a general introduction into the use of
 
 @seealso
 Notation Reference: @ref{Rests}, gives a general introduction into the use of


@@ -1456,7 +1456,7 @@ in the above table is accordingly extrapolated.  This way,
 infinitely many different ligatures can be created.
 
 Note that the use of these signs in the music itself follows
 infinitely many different ligatures can be created.
 
 Note that the use of these signs in the music itself follows

-certain rules, which are not checked by Lilypond.  E.g., the
+certain rules, which are not checked by LilyPond.  E.g., the

 @emph{quilisma} is always the middle note of an ascending
 ligature, and usually falls on a half-tone step, but it is
 perfectly possible, although incorrect, to make a single-note
 @emph{quilisma} is always the middle note of an ascending
 ligature, and usually falls on a half-tone step, but it is
 perfectly possible, although incorrect, to make a single-note


@@ -1492,7 +1492,7 @@ shows the code fragment that produces this ligature, using
 @tab
 @b{Output}
 @tab
 @tab
 @b{Output}
 @tab

-@b{Lilypond@*
+@b{LilyPond@*

 code}
 
 @c TODO: \layout block is identical in all of the below examples.
 code}
 
 @c TODO: \layout block is identical in all of the below examples.


@@ -2290,7 +2290,7 @@ with head prefixes in arbitrary order.
 
 Working with ancient music frequently involves particular tasks
 which differ considerably from the modern notation for which
 
 Working with ancient music frequently involves particular tasks
 which differ considerably from the modern notation for which

-Lilypond is designed.  In the rest of this section, a number of
+LilyPond is designed.  In the rest of this section, a number of

 typical scenarios are outlined, with suggestions of solutions.
 These involve:
 
 typical scenarios are outlined, with suggestions of solutions.
 These involve: