Merge branch 'master' of git+ssh://jneem@git.sv.gnu.org/srv/git/lilypond

[lilypond.git] / Documentation / user / basic-notation.itely

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 1e1a59a874a8223096009f74da8a39edb5e342c2..da60b0e06cc876bc33edbfe50d74a0d53935c4be 100644 (file)
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -1,5 +1,12 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely

+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore
+

 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update
 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update


@@ -13,7 +20,7 @@ This chapter explains how to use basic notation features.
 @menu
 * Pitches::                     
 * Rhythms::                     
 @menu
 * Pitches::                     
 * Rhythms::                     

-* Multiple notes at once::      
+* Polyphony::                   

 * Staff notation::              
 * Connecting notes::            
 * Expressive marks::            
 * Staff notation::              
 * Connecting notes::            
 * Expressive marks::            


@@ -32,7 +39,7 @@ This section discusses how to specify the pitch of notes.
 * Accidentals::                 
 * Cautionary accidentals::      
 * Micro tones::                 
 * Accidentals::                 
 * Cautionary accidentals::      
 * Micro tones::                 

-* Notes names in other languages::  
+* Note names in other languages::  

 * Relative octaves::            
 * Octave check::                
 * Transpose::                   
 * Relative octaves::            
 * Octave check::                
 * Transpose::                   


@@ -68,9 +75,9 @@ c1
 @funindex ,
 
 The optional octave specification takes the form of a series of
 @funindex ,
 
 The optional octave specification takes the form of a series of

-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters.  Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters.  Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.

 
 @lilypond[quote,ragged-right,fragment,verbatim]
 \clef treble
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 \clef treble


@@ -117,11 +124,11 @@ suffix; a natural pitch is shown as a simple note name
 a4 aes a2
 @end lilypond
 
 a4 aes a2
 @end lilypond
 

-The input @code{d e f} is interpreted as ``print a D-natural,
-E-natural, and an F-natural,'' regardless of the key
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key

 signature.  For more information about the distinction between
 musical content and the presentation of that content, see
 signature.  For more information about the distinction between
 musical content and the presentation of that content, see

-@ref{More about pitches}.
+@ref{Accidentals and key signatures}.

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative]
 \key d \major
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative]
 \key d \major


@@ -167,7 +174,7 @@ print them manually.  A reminder accidental
 can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 (i.e., an accidental within parentheses) can be obtained by adding the
 can be forced by adding an exclamation mark @code{!}
 after the pitch.  A cautionary accidental
 (i.e., an accidental within parentheses) can be obtained by adding the

-question mark `@code{?}' after the pitch.  These extra accidentals
+question mark @samp{?} after the pitch.  These extra accidentals

 can be used to produce natural signs, too.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
 can be used to produce natural signs, too.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]


@@ -205,8 +212,8 @@ three-quarter flats, so LilyPond's symbol does not conform to any
 standard.
 
 
 standard.
 
 

-@node Notes names in other languages
-@subsection Notes names in other languages
+@node Note names in other languages
+@subsection Note names in other languages

 
 There are predefined sets of note names for various other languages.
 To use them, include the language specific init file.  For
 
 There are predefined sets of note names for various other languages.
 To use them, include the language specific init file.  For


@@ -422,7 +429,7 @@ mus = { \key d \major cis d fis g }
 
 @code{\transpose} may also be used to input written notes for a
 transposing instrument.  Pitches are normally entered into LilyPond
 
 @code{\transpose} may also be used to input written notes for a
 transposing instrument.  Pitches are normally entered into LilyPond

-in C (or ``concert pitch''), but they may be entered in another
+in C (or @q{concert pitch}), but they may be entered in another

 key.  For example, when entering music for a B-flat trumpet which
 begins on concert D, one would write
 
 key.  For example, when entering music for a B-flat trumpet which
 begins on concert D, one would write
 


@@ -499,8 +506,8 @@ Program reference: @internalsref{Rest}.
 @funindex \skip
 @funindex s
 
 @funindex \skip
 @funindex s
 

-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4 a4 s4 a4 \skip 1 a4
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 a4 a4 s4 a4 \skip 1 a4


@@ -616,7 +623,7 @@ duration.  The default for the first note is a quarter note.
 
 @funindex .
 
 
 @funindex .
 

-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (@samp{.}) to

 the number.  Double-dotted notes are produced in a similar way.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 the number.  Double-dotted notes are produced in a similar way.
 
 @lilypond[quote,ragged-right,fragment,verbatim]


@@ -753,7 +760,7 @@ Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}
 @subsection Scaling durations
 
 You can alter the length of duration by a fraction @var{N/M}

-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}).  This
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).  This

 will not affect the appearance of the notes or rests produced.
 
 In the following example, the first three notes take up exactly two
 will not affect the appearance of the notes or rests produced.
 
 In the following example, the first three notes take up exactly two


@@ -779,7 +786,7 @@ This manual: @ref{Tuplets}
 @funindex |
 
 Bar checks help detect errors in the durations.  A bar check is
 @funindex |
 
 Bar checks help detect errors in the durations.  A bar check is

-entered using the bar symbol, `@code{|}'.  Whenever it is encountered
+entered using the bar symbol, @samp{|}.  Whenever it is encountered

 during interpretation, it should fall on a measure boundary.  If it
 does not, a warning is printed.  In the next example, the second bar
 check will signal an error
 during interpretation, it should fall on a measure boundary.  If it
 does not, a warning is printed.  In the next example, the second bar
 check will signal an error


@@ -877,8 +884,8 @@ Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
 Program reference: @internalsref{Completion_heads_engraver}.
 
 
 Program reference: @internalsref{Completion_heads_engraver}.
 
 

-@node Multiple notes at once
-@section Multiple notes at once
+@node Polyphony
+@section Polyphony

 
 Polyphony in music refers to having more than one voice occurring in
 a piece of music.  Polyphony in LilyPond refers to having more than
 
 Polyphony in music refers to having more than one voice occurring in
 a piece of music.  Polyphony in LilyPond refers to having more than


@@ -962,7 +969,7 @@ them simultaneously, separating the voices with @code{\\}
 @end lilypond
 
 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
 @end lilypond
 
 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic

-voices are sometimes called ``layers'' in other notation packages}
+voices are sometimes called @q{layers} in other notation packages}

 @cindex layers
 to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
 each of these contexts, vertical direction of slurs, stems, etc., is set
 @cindex layers
 to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
 each of these contexts, vertical direction of slurs, stems, etc., is set


@@ -1377,7 +1384,7 @@ command
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @var{pitch}-major or @var{pitch}-minor, respectively.  You may also
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
 @var{pitch}-major or @var{pitch}-minor, respectively.  You may also

-use the standard mode names (also called ``church modes''): @code{\ionian},
+use the standard mode names (also called @q{church modes}): @code{\ionian},

 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
 @code{\phrygian}, and @code{\dorian}.
 
 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
 @code{\phrygian}, and @code{\dorian}.
 


@@ -1387,7 +1394,7 @@ can be specified by setting this property directly.
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For

-more information, see @ref{Accidentals} or @ref{More about pitches}.
+more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.

 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major


@@ -1537,7 +1544,7 @@ This is internally translated into
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is a negative number; @code{\partial 4} is internally
 The property @code{measurePosition} contains a rational number
 indicating how much of the measure has passed at this point.  Note
 that this is a negative number; @code{\partial 4} is internally

-translated to mean ``there is a quarter note left in the bar''.
+translated to mean @qq{there is a quarter note left in the bar.}

 
 
 @refbugs
 
 
 @refbugs


@@ -1774,7 +1781,7 @@ System start delimiters may be deeply nested,
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped
 @cindex adjusting staff symbol
 
 Notes, dynamic signs, etc., are grouped

-with a set of horizontal lines, called a staff (plural `staves').  In
+with a set of horizontal lines, called a staff (plural @q{staves}).  In

 LilyPond, these lines are drawn using a separate layout object called
 @code{staff symbol}.
 
 LilyPond, these lines are drawn using a separate layout object called
 @code{staff symbol}.
 


@@ -1907,7 +1914,7 @@ This section deals with notation that affects groups of notes.
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
 slurs, which indicate articulation, or phrasing slurs, which indicate
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
 slurs, which indicate articulation, or phrasing slurs, which indicate

-musical phrasing.  A tie is entered using the tilde symbol `@code{~}'
+musical phrasing.  A tie is entered using the tilde symbol @samp{~}

 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 e' ~ e' <c' e' g'> ~ <c' e' g'>


@@ -2285,7 +2292,7 @@ c4 \grace c16 c4
 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
 @code{\grace} command does not start a slur.
 
 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
 @code{\grace} command does not start a slur.
 

-Internally, timing for grace notes is done using a second, `grace'
+Internally, timing for grace notes is done using a second, @q{grace}

 timing.  Every point in time consists of two rational numbers: one
 denotes the logical time, one denotes the grace timing.  The above
 example is shown here with timing tuples
 timing.  Every point in time consists of two rational numbers: one
 denotes the logical time, one denotes the grace timing.  The above
 example is shown here with timing tuples


@@ -2331,7 +2338,7 @@ following the main note.
 c1 \afterGrace d1 { c16[ d] } c4
 @end lilypond
 
 c1 \afterGrace d1 { c16[ d] } c4
 @end lilypond
 

-This will put the grace notes after a ``space'' lasting 3/4 of the
+This will put the grace notes after a @q{space} lasting 3/4 of the

 length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 
 length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 


@@ -3084,7 +3091,7 @@ c1
 
 In the following example, the first ending is not a complete
 bar (it only had 3 beats).  The beginning of the second ending
 
 In the following example, the first ending is not a complete
 bar (it only had 3 beats).  The beginning of the second ending

-contains the 4th beat from the first ending.  This ``extra''
+contains the 4th beat from the first ending.  This @q{extra}

 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 beginning of the example.
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 beginning of the example.


@@ -3284,7 +3291,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding
 @funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding

-`@code{:}[@var{number}]' after the note.  The number indicates the
+@q{@code{:}[@var{number}]} after the note.  The number indicates the

 duration of the subdivision, and it must be at least 8.  A
 @var{length} value of 8 gives one line across the note stem.  If the
 length is omitted, the last value (stored in @code{tremoloFlags}) is
 duration of the subdivision, and it must be at least 8.  A
 @var{length} value of 8 gives one line across the note stem.  If the
 length is omitted, the last value (stored in @code{tremoloFlags}) is