Merge with master

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

diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index 4ca0142e04eb581bf3b42256a8b13a72f9e5dc81..fdd4d5ca41399ca49c3971f611ae2c82eb398ff6 100644 (file)
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-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


@@ -44,7 +51,7 @@ handle this cross-staffing behavior.  In this section we discuss the
 @refbugs
 
 Dynamics are not centered, but workarounds do exist.  See the
 @refbugs
 
 Dynamics are not centered, but workarounds do exist.  See the

-``piano centered dynamics'' template in @ref{Piano templates}.
+@q{piano centered dynamics} template in @ref{Piano templates}.

 
 @cindex cross staff stem
 @cindex stem, cross staff
 
 @cindex cross staff stem
 @cindex stem, cross staff


@@ -148,7 +155,7 @@ usually the setup for a score will start with a setup of the staves,
 and the @context{Voice} is inserted afterwards
 
 @example
 and the @context{Voice} is inserted afterwards
 
 @example

-\new Staff = down
+\context Staff = down

   \new Voice @{ @dots{} \change Staff = up @dots{} @}
 @end example
 
   \new Voice @{ @dots{} \change Staff = up @dots{} @}
 @end example
 


@@ -197,7 +204,7 @@ b\sustainUp\sustainDown
 b g \sustainUp a \sustainDown \bar "|."
 @end lilypond
 
 b g \sustainUp a \sustainDown \bar "|."
 @end lilypond
 

-The default `*Ped.' style for sustain and damper pedals corresponds to
+The default @q{*Ped.} style for sustain and damper pedals corresponds to

 style @code{#'text}.  The sostenuto pedal uses @code{mixed} style by
 default.
 
 style @code{#'text}.  The sostenuto pedal uses @code{mixed} style by
 default.
 


@@ -356,7 +363,7 @@ modifier (which may include a number if desired)
 @lilypond[quote,fragment,verbatim]
 \chordmode { e1:m e1:7 e1:m7 }
 @end lilypond
 @lilypond[quote,fragment,verbatim]
 \chordmode { e1:m e1:7 e1:m7 }
 @end lilypond

-The first number following the root is taken to be the `type' of the
+The first number following the root is taken to be the @q{type} of the

 chord, thirds are added to the root until it reaches the specified
 number
 @lilypond[quote,fragment,verbatim]
 chord, thirds are added to the root until it reaches the specified
 number
 @lilypond[quote,fragment,verbatim]


@@ -580,7 +587,7 @@ separators, e.g.,
 @item chordRootNamer
 The root of a chord is usually printed as a letter with an optional
 alteration.  The transformation from pitch to letter is done by this
 @item chordRootNamer
 The root of a chord is usually printed as a letter with an optional
 alteration.  The transformation from pitch to letter is done by this

-function.  Special note names (for example, the German ``H'' for a
+function.  Special note names (for example, the German @q{H} for a

 B-chord) can be produced by storing a new function in this property.
 
 @funindex chordNoteNamer
 B-chord) can be produced by storing a new function in this property.
 
 @funindex chordNoteNamer


@@ -592,9 +599,9 @@ base can be printed in lower case.
 
 @funindex chordPrefixSpacer
 @item chordPrefixSpacer
 
 @funindex chordPrefixSpacer
 @item chordPrefixSpacer

-The ``m'' for minor chords is usually printed right after the root of
+The @q{m} for minor chords is usually printed right after the root of

 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer

-between the root and ``m''. The spacer is not used when the root
+between the root and @q{m}. The spacer is not used when the root

 is altered.
 
 @end table
 is altered.
 
 @end table


@@ -866,7 +873,7 @@ Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
 
 @cindex hyphens
 
 
 @cindex hyphens
 

-Centered hyphens are entered as `@code{--}' between syllables.
+Centered hyphens are entered as @samp{--} between syllables.

 The hyphen will have variable length depending on the space between
 the syllables and it will be centered between the syllables.
 
 The hyphen will have variable length depending on the space between
 the syllables and it will be centered between the syllables.
 


@@ -876,7 +883,7 @@ the syllables and it will be centered between the syllables.
 When a lyric is sung over many notes (this is called a melisma), this is
 indicated with a horizontal line centered between a syllable and the
 next one.  Such a line is called an extender line, and it is entered as
 When a lyric is sung over many notes (this is called a melisma), this is
 indicated with a horizontal line centered between a syllable and the
 next one.  Such a line is called an extender line, and it is entered as

-`@code{__}'.
+@samp{__}.

 
 In tighly engraved music, hyphens can be removed.  Whether this
 happens can be controlled with the @code{minimum-distance} (minimum
 
 In tighly engraved music, hyphens can be removed.  Whether this
 happens can be controlled with the @code{minimum-distance} (minimum


@@ -1134,8 +1141,8 @@ in the text, as shown here,
 @end lilypond
 
 
 @end lilypond
 
 

-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``go''.
+The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
+should be entered before @q{go}.

 
 The reverse is also possible: making a lyric line slower than the
 standard.  This can be achieved by insert @code{\skip}s into the
 
 The reverse is also possible: making a lyric line slower than the
 standard.  This can be achieved by insert @code{\skip}s into the


@@ -1241,7 +1248,7 @@ done by setting the @code{associatedVoice} property.  In the example
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-the text for the first stanza is set to a melody called ``lahlah'',
+the text for the first stanza is set to a melody called @q{lahlah},

 
 @example
 \new Lyrics \lyricsto "lahlah" @{
 
 @example
 \new Lyrics \lyricsto "lahlah" @{


@@ -1251,7 +1258,7 @@ the text for the first stanza is set to a melody called ``lahlah'',
 
 
 The second stanza initially is set to the @code{lahlah} context, but
 
 
 The second stanza initially is set to the @code{lahlah} context, but

-for the syllable ``ran'', it switches to a different melody.
+for the syllable @q{ran}, it switches to a different melody.

 This is achieved with
 @example
 \set associatedVoice = alternative
 This is achieved with
 @example
 \set associatedVoice = alternative


@@ -1261,7 +1268,7 @@ This is achieved with
 Here, @code{alternative} is the name of the @code{Voice} context
 containing the triplet.
 
 Here, @code{alternative} is the name of the @code{Voice} context
 containing the triplet.
 

-Again, the command must be one syllable too early, before ``Ty'' in
+Again, the command must be one syllable too early, before @q{Ty} in

 this case.
 
 @example
 this case.
 
 @example


@@ -1287,25 +1294,16 @@ It is also possible to define melismata entirely in the lyrics. This
 can be done by entering @code{_} for every note that is part of the
 melisma.
 
 can be done by entering @code{_} for every note that is part of the
 melisma.
 

-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment,quote]

 { \set melismaBusyProperties = #'()
   c d( e) f f( e) e e  }
 \addlyrics
  { Ky -- _ _ ri __ _ _ _  e }
 @end lilypond
 
 { \set melismaBusyProperties = #'()
   c d( e) f f( e) e e  }
 \addlyrics
  { Ky -- _ _ ri __ _ _ _  e }
 @end lilypond
 

-In this case, you can also have ties and slurs in the melody, if you
+In this case, you can also have ties and slurs in the melody if you

 set @code{melismaBusyProperties}, as is done in the example above.
 
 set @code{melismaBusyProperties}, as is done in the example above.
 

-@lilypond[relative=1,verbatim,fragment,quote]
-{
- \set melismaBusyProperties = #'()
-  c d( e) f f( e) e e
-}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _  e }
-@end lilypond
-

 
 @node Lyrics independent of notes
 @subsubsection Lyrics independent of notes
 
 @node Lyrics independent of notes
 @subsubsection Lyrics independent of notes


@@ -1645,7 +1643,7 @@ can ask them for specific instructions about where to move these
 examples, and that might get them more involved in the docs.  -gp
 @end ignore
 
 examples, and that might get them more involved in the docs.  -gp
 @end ignore
 

-``Parlato'' is spoken without pitch but still with rhythm; it is
+@q{Parlato} is spoken without pitch but still with rhythm; it is

 notated by cross noteheads.  This is demonstrated in
 @ref{Special noteheads}.
 
 notated by cross noteheads.  This is demonstrated in
 @ref{Special noteheads}.
 


@@ -2535,9 +2533,9 @@ overview over all available note head styles.
 @cindex accidentals
 
 
 @cindex accidentals
 
 

-Use the @code{style} property of grob @internalsref{Accidental} to
-select ancient accidentals.   Supported styles are
-@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
+Use the @code{glyph-name-alist} property of grob
+@internalsref{Accidental} and @internalsref{KeySignature} to select
+ancient accidentals. 

 
 @lilypond[quote,ragged-right,staffsize=26]
 \score {
 
 @lilypond[quote,ragged-right,staffsize=26]
 \score {


@@ -2584,7 +2582,7 @@ different style, as demonstrated in
 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
 
 Similarly to local accidentals, the style of the key signature can be
 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
 
 Similarly to local accidentals, the style of the key signature can be

-controlled by the @code{style} property of the
+controlled by the @code{glyph-name-alist} property of the

 @internalsref{KeySignature} grob.
 
 @seealso
 @internalsref{KeySignature} grob.
 
 @seealso


@@ -2850,16 +2848,16 @@ historic style hufnagel combined do/fa clef
 
 
 
 
 
 

-@emph{Modern style} means ``as is typeset in contemporary editions of
-transcribed mensural music''.
+@emph{Modern style} means @qq{as is typeset in contemporary editions of
+transcribed mensural music.}

 
 

-@emph{Petrucci style} means ``inspired by printings published by the
-famous engraver Petrucci (1466-1539)''.
+@emph{Petrucci style} means @qq{inspired by printings published by the
+famous engraver Petrucci (1466-1539).}

 
 

-@emph{Historic style} means ``as was typeset or written in historic
-editions (other than those of Petrucci)''.
+@emph{Historic style} means @qq{as was typeset or written in historic
+editions (other than those of Petrucci).}

 
 

-@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}

 
 Petrucci used C clefs with differently balanced left-side vertical
 beams, depending on which staff line it is printed.
 
 Petrucci used C clefs with differently balanced left-side vertical
 beams, depending on which staff line it is printed.


@@ -3065,7 +3063,7 @@ the right end of the episem line is often too far to the right.
 @cindex custos
 @cindex custodes
 
 @cindex custos
 @cindex custodes
 

-A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a

 symbol that appears at the end of a staff.  It anticipates the pitch
 of the first note(s) of the following line thus helping the performer
 to manage line breaks during performance.
 symbol that appears at the end of a staff.  It anticipates the pitch
 of the first note(s) of the following line thus helping the performer
 to manage line breaks during performance.


@@ -3146,7 +3144,7 @@ Examples: @inputfileref{input/@/regression,custos@/.ly}.
 @cindex finalis
 
 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
 @cindex finalis
 
 A @emph{divisio} (plural: @emph{divisiones}; Latin word for

-`division') is a staff context symbol that is used to structure
+@q{division}) is a staff context symbol that is used to structure

 Gregorian music into phrases and sections.  The musical meaning of
 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
 can be characterized as short, medium, and long pause, somewhat like
 Gregorian music into phrases and sections.  The musical meaning of
 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
 can be characterized as short, medium, and long pause, somewhat like


@@ -4362,7 +4360,7 @@ entering the chant, as the following excerpt demonstrates
 
 In European music from before about 1600, singers were often expected
 to chromatically alter notes at their own initiative. This is called
 
 In European music from before about 1600, singers were often expected
 to chromatically alter notes at their own initiative. This is called

-``Musica Ficta''. In modern transcriptions, these accidentals are
+@q{Musica Ficta}. In modern transcriptions, these accidentals are

 usually printed over the note.
 
 @cindex Accidental, musica ficta
 usually printed over the note.
 
 @cindex Accidental, musica ficta


@@ -4548,6 +4546,15 @@ automatically.
 @end lilypond
 
 
 @end lilypond
 
 

+@refbugs
+
+When using figured bass above the staff with extender lines and
+@code{implicitBassFigures} the lines may become swapped around.
+Maintaining order consistently will be impossible when multiple figures
+have overlapping extender lines.  To avoid this problem, plese
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+

 @seealso
 
 Program reference: @internalsref{NewBassFigure},
 @seealso
 
 Program reference: @internalsref{NewBassFigure},