Doc-es: full update, except Snippets.

[lilypond.git] / Documentation / es / essay / engraving.itely

diff --git a/Documentation/es/essay/engraving.itely b/Documentation/es/essay/engraving.itely
index b938879f4621027d019feb8374b944865fceed8c..a2e8e8b08e29dbcf2056d02bd7adbb19e5e840c4 100644 (file)
--- a/Documentation/es/essay/engraving.itely
+++ b/Documentation/es/essay/engraving.itely
@@ -1,7 +1,7 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 
 @ignore
-    Translation of GIT committish: 2dd8d127ca6e0c3e7d9c0a02e964783fe7d0e97c
+    Translation of GIT committish: 78ee94fc5421798b85173546d7ec08d642d008a1
 
     When revising a translation, copy the HEAD committish of the
     version that you are working on.  For details, see the Contributors'
@@ -331,7 +331,7 @@ correcciones.  ¿Cuál prefiere?
 }
 
 music = {
-   c'4 e''4 e'4 b'4 |
+   c'4 e''4 e'4 b'4
    \stemDown
    b'8[ e'' a' e'']
    \stemNeutral
@@ -521,14 +521,16 @@ global = {
     \new Staff \relative c {
       \global
       \clef "bass"
-      << {
-        \once \override DynamicText #'X-offset = #-3
-        <ees g c>2.~->^\f
-        <ees g c>4.~ <ees g c>8
-      } \\ {
-        <c g c,>2.~
-        <c g c,>4.~ <c g c,>8
-      } >>
+      <<
+        {
+          \once \override DynamicText #'X-offset = #-3
+          <ees g c>2.~->^\f
+          <ees g c>4.~ <ees g c>8
+        } \\ {
+          <c g c,>2.~
+          <c g c,>4.~ <c g c,>8
+        }
+      >>
       r8 r16 <f, c' aes'>16
       <f c' aes'>4.-> <c' g'>8 r r
     }
@@ -604,12 +606,12 @@ de las tres configuraciones elegiríamos para la siguiente ligadura?
 
 @lilypond
 \relative c {
-    \clef bass
-    \once \override Slur #'positions = #'(1.5 . 1)
-    e8[( f] g[ a b d,)] r4
-    \once \override Slur #'positions = #'(2 . 3)
-    e8[( f] g[ a b d,)] r4
-    e8[( f] g[ a b d,)] r4
+  \clef bass
+  \once \override Slur #'positions = #'(1.5 . 1)
+  e8[( f] g[ a b d,)] r4
+  \once \override Slur #'positions = #'(2 . 3)
+  e8[( f] g[ a b d,)] r4
+  e8[( f] g[ a b d,)] r4
 }
 @end lilypond
 
@@ -648,9 +650,9 @@ rozar la cabeza de una de las figuras:
 
 @lilypond
 \relative c {
-    \clef bass
-    \once \override Slur #'positions = #'(1.5 . 1)
-    e8[(_"15.39" f] g[ a b d,)] r4
+  \clef bass
+  \once \override Slur #'positions = #'(1.5 . 1)
+  e8[(_"15.39" f] g[ a b d,)] r4
 }
 @end lilypond
 
@@ -662,9 +664,9 @@ de fealdad:
 
 @lilypond
 \relative c {
-    \clef bass
-    \once \override Slur #'positions = #'(2 . 3)
-    e8[(_"13.08" f] g[ a b d,)] r4
+  \clef bass
+  \once \override Slur #'positions = #'(2 . 3)
+  e8[(_"13.08" f] g[ a b d,)] r4
 }
 @end lilypond
 
@@ -674,8 +676,8 @@ las tres configuraciones, así que LilyPond selecciona ésta:
 
 @lilypond
 \relative c {
-    \clef bass
-    e8[(_"12.04" f] g[ a b d,)] r4
+  \clef bass
+  e8[(_"12.04" f] g[ a b d,)] r4
 }
 @end lilypond
 
@@ -757,17 +759,21 @@ actual de LilyPond (@version{}):
   \key d \minor
   \time 3/4
   \mergeDifferentlyDottedOn
-  << {\slurDashed d8.-\flageolet( e16) e4.-\trill( d16 e)}
-     \\ {d4_2 a2}
+  <<
+    { \slurDashed d8.-\flageolet( e16) e4.-\trill( d16 e) }
+     \\
+    { d4_2 a2 }
   >>
   \slurDashed
   <f' a, d,>4. e8( d c)
   \slurSolid
-  bes g' f e16( f g_1 a_2 bes_3 d,_2)
+  bes8 g' f e16( f g_1 a_2 bes_3 d,_2)
   \slurDashed
   cis4.-\trill b8_3( a g)
-  << {\slurDashed d'8.( e16) e4.-\trill( d16 e)}
-     \\ {<f, a>4 a2}
+  <<
+    { \slurDashed d'8.( e16) e4.-\trill( d16 e) }
+     \\
+    { <f, a>4 a2 }
   >>
 }
 @end lilypond
@@ -828,7 +834,7 @@ LilyPond en segundo:
 @end ifnottex
 
 @lilypond[staffsize=19.5,line-width=14\cm]
-global = {\key g \minor}
+global = { \key g \minor }
 
 partI = \relative c' {
   \voiceOne
@@ -863,8 +869,8 @@ partIV = \relative c {
         \new Voice = "voiceI" { \partI }
         \new Voice = "voiceII" { \partII }
       >>
-
-      \new Staff = "LH" <<
+      \new Staff = "LH"
+      <<
         \clef "bass"
         \global
         \new Voice = "voiceIII" { \partIII }
@@ -906,8 +912,8 @@ collide = \once \override NoteColumn #'force-hshift = #0
   \new Voice = "sample" \relative c''{
     \key g \minor
     <<
-      {\voiceOne g4 \collide g4}
-      \new Voice {\voiceTwo bes \collide bes}
+      { \voiceOne g4 \collide g4 }
+      \new Voice { \voiceTwo bes \collide bes }
     >>
   }
   \new Lyrics \lyricsto "sample" \lyricmode { "bien " " mal" }
@@ -1100,16 +1106,16 @@ la notación musical:
 
 @lilypond[quote,fragment]
 <<
-\new Staff \relative c'' {
-  \key g \major
-  \time 3/4
-  d4 g,8 a b c d4 g, g
-}
-\new Staff \relative c' {
-  \clef "bass"
-  \key g \major
-  <g b d>2 a4 b2.
-}
+  \new Staff \relative c'' {
+    \key g \major
+    \time 3/4
+    d4 g,8 a b c d4 g, g
+  }
+  \new Staff \relative c' {
+    \clef "bass"
+    \key g \major
+    <g b d>2 a4 b2.
+  }
 >>
 @end lilypond
 
@@ -1149,7 +1155,7 @@ aparente si tenemos en cuenta un ejemplo musical más complejo:
     \new Voice = "I" \relative c''' {
       \time 3/4
       \voiceOne
-      \times 6/7 {g8 g g g g g g}
+      \times 6/7 { g8 g g g g g g }
       \oneVoice
       r4 <b,, fis' g bes> r4\fermata
     }