* Documentation/user/notation.itely (Ancient flags): Removed

[lilypond.git] / Documentation / user / music-glossary.tely

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 6e98cbe70ff9218bd0c6140bfb5f7acc5c368bff..f0998e110707fd92b3c4a3da51ed71d257f8edb9 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -208,7 +208,7 @@ accidental.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   gis1 s s gisis s s ges s s geses s s g!
 }
 \context Staff \relative c'' {
   gis1 s s gisis s s ges s s geses s s g!
 }


@@ -680,7 +680,7 @@ lines.
 \set Score.automaticBars = ##f
 \override Score.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
 \set Score.automaticBars = ##f
 \override Score.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c' {
   \clef soprano c1 s s
   \clef mezzosoprano c s s
 \context Staff \relative c' {
   \clef soprano c1 s s
   \clef mezzosoprano c s s


@@ -717,8 +717,8 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of

-movement.  The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise.  Since
+movement.  The purpose of a cadenza is to give singers or players a chance to
+exhibit their technical skill and not the least their ability to improvise.  Since

 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 
 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 


@@ -773,7 +773,7 @@ chords are denoted open chords
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   <g b d>1 s s
   <g bes d> s s
 \context Staff \relative c'' {
   <g b d>1 s s
   <g bes d> s s


@@ -973,7 +973,7 @@ music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
 @lilypond[fragment,staffsize=11]
 composition methods.
 
 @lilypond[fragment,staffsize=11]

-\set Score.TimeSignature =\turnOff
+\override Score.TimeSignature #'break-visibility = #all-invisible

 \context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major
 \context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major


@@ -1187,7 +1187,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \context Staff \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
   \context Staff \relative c' {
     c1 d
     \override TextScript   #'padding = #-4


@@ -1202,7 +1202,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \context Staff \relative c' {
     d1
     \override TextScript   #'padding = #-4
   \context Staff \relative c' {
     d1
     \override TextScript   #'padding = #-4


@@ -1217,7 +1217,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c' {
     \override TextScript   #'padding = #-4
     e1^"~~ S" f g a b^"~~ S" c d e
   \relative c' {
     \override TextScript   #'padding = #-4
     e1^"~~ S" f g a b^"~~ S" c d e


@@ -1231,7 +1231,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c' {
     f1 g a
     \override TextScript   #'padding = #-4
   \relative c' {
     f1 g a
     \override TextScript   #'padding = #-4


@@ -1246,7 +1246,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c'' {
     g1 a
     \override TextScript   #'padding = #-4
   \relative c'' {
     g1 a
     \override TextScript   #'padding = #-4


@@ -1260,7 +1260,7 @@ also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c'' {
     a1
     \override TextScript   #'padding = #-4
   \relative c'' {
     a1
     \override TextScript   #'padding = #-4


@@ -1280,7 +1280,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
   \relative c' {
     c1 d
     \override TextScript   #'padding = #-4


@@ -1295,7 +1295,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c'' {
     a1
     \override TextScript   #'padding = #-4
   \relative c'' {
     a1
     \override TextScript   #'padding = #-4


@@ -1310,7 +1310,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c'' {
     a1
     \override TextScript   #'padding = #-4
   \relative c'' {
     a1
     \override TextScript   #'padding = #-4


@@ -1325,7 +1325,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

   \relative c'' {
     a1
     \override TextScript   #'padding = #-4
   \relative c'' {
     a1
     \override TextScript   #'padding = #-4


@@ -1646,7 +1646,7 @@ but equal pitch.
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   gis1 s s as s s <des g,!> s s <cis g!> s s
 }
 \context Staff \relative c'' {
   gis1 s s as s s <des g,!> s s <cis g!> s s
 }


@@ -1714,7 +1714,7 @@ symbol indicates playing an octave lower (for example on double bass
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \relative c {
   \clef varbaritone
   f1
 \relative c {
   \clef varbaritone
   f1


@@ -1882,7 +1882,7 @@ variants of the base chords.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }
 \context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }


@@ -1919,7 +1919,7 @@ scores are notated like that).
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \relative c'' {
   \clef french
   g1 s s
 \relative c'' {
   \clef french
   g1 s s


@@ -2038,7 +2038,7 @@ section.  @aref{functional harmony}.
     < c a f > < b g d > < c g e >2
   }
 %  %\override Score.LyricText   #'font-style = #'large
     < c a f > < b g d > < c g e >2
   }
 %  %\override Score.LyricText   #'font-style = #'large

-  \addlyrics
+  \oldaddlyrics

   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2
   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2


@@ -2126,7 +2126,7 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Voice \relative c'' {
   < g g >1 s
   < g as >^"minor" s
 \context Voice \relative c'' {
   < g g >1 s
   < g as >^"minor" s


@@ -2147,7 +2147,7 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   < g c >^"perfect" s
   < g cis >^"augm"  s
 \context Staff \relative c'' {
   < g c >^"perfect" s
   < g cis >^"augm"  s


@@ -2168,7 +2168,7 @@ of such two forms an octave.
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   < gis f'! >1^"dimin"  s
   < g! f'! >^"minor"  s
 \context Staff \relative c'' {
   < gis f'! >1^"dimin"  s
   < g! f'! >^"minor"  s


@@ -2306,7 +2306,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime]
 \set Score.automaticBars = ##f

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c'' {
   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
 \context Staff \relative c'' {
   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"


@@ -2665,7 +2665,7 @@ The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
 @lilypond[fragment]
 subject.
 
 @lilypond[fragment]

-\set Score.TimeSignature = \turnOff
+\override Score.TimeSignature #'break-visibility = #all-invisible

 %\override Score.TextScript #'font-style = #'large
 \relative c'' {
   \time 4/4
 %\override Score.TextScript #'font-style = #'large
 \relative c'' {
   \time 4/4


@@ -3275,7 +3275,7 @@ sub@-do@-mi@-nant (S) and V = dominant (D).
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\set minVerticalAlign = #8
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\set minVerticalAlign = #8

-\addlyrics
+\oldaddlyrics

 \context Staff \relative c' {
   c1 d e f g a b c
 }
 \context Staff \relative c' {
   c1 d e f g a b c
 }


@@ -3494,10 +3494,10 @@ FI: sonaattimuoto.
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and

-@emph{recapitulation}.  In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however.  The exposition contains a number of themes
+@emph{recapitulation}.  In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the composer
+"develops" this material, and in the recapitulation the composer repeats the exposition,
+with certain modificationsr.  The exposition contains a number of themes

 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these
 two.  The second theme is in another key, normally in the key of the
 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these
 two.  The second theme is in another key, normally in the key of the


@@ -3848,7 +3848,7 @@ with figures designating the chief @aref{interval}s and
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }

-  \addlyrics
+  \oldaddlyrics

     \context Staff = rh \relative c' {
     \clef bass
     \key es \major
     \context Staff = rh \relative c' {
     \clef bass
     \key es \major