Merge branch 'lilypond/translation' into staging

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

diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely
index 61795e1a73ad3d949d34542602f7cffc6807d834..7b58fb050c37eb86c528b9d0149c413f10bc8ddc 100644 (file)
--- a/Documentation/essay/engraving.itely
+++ b/Documentation/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.13.4"
+@c \version "2.15.32"
 
 @node Music engraving
 @chapter Music engraving
@@ -83,7 +83,7 @@ and movement, and it feels like a living, breathing piece of music,
 while the newer edition seems cold and mechanical.
 
 It is hard to immediately see what makes the difference with the newer
-edition.  Everything looks neat and tiny, possibly even @qq{better}
+edition.  Everything looks neat and tidy, possibly even @qq{better}
 because it looks more computerized and uniform.  This really puzzled us
 for quite a while.  We wanted to improve computer notation, but we first
 had to figure out what was wrong with it.
@@ -292,7 +292,7 @@ vertical strokes are heavier.
 In spacing, the distribution of space should reflect the durations
 between notes.  However, as we saw in the Bach Suite above, many modern
 scores adhere to the durations with mathematical precision, which leads
-to poor results.  In the next example a motive is printed twice: the
+to poor results.  In the next example a motif is printed twice: the
 first time using exact mathematical spacing, and the second with
 corrections.  Which do you prefer?
 
@@ -461,8 +461,9 @@ global = {
   \key c \minor
 }
 
-\new Score <<
-  \new Staff \with {
+\score {
+  <<
+    \new Staff \with {
       fontSize = #-4
       \override StaffSymbol #'staff-space = #(magstep -4)
       \override StaffSymbol #'thickness = #(magstep -3)
@@ -474,18 +475,18 @@ global = {
       g8.(^> b16 c ees) g8-.^> r r
       R2.
     }
-  \new PianoStaff <<
-    \set PianoStaff.instrumentName = #"Piano"
-    \new Staff \relative c' {
-      \global
-      s2.
-      s4. s8 r8 r16 <c f aes c>
-      <c f aes c>4.^> <c ees g>8 r r
-    }
-    \new Staff \relative c {
-      \global
-      \clef "bass"
-      <<
+    \new PianoStaff <<
+      \set PianoStaff.instrumentName = #"Piano"
+      \new Staff \relative c' {
+        \global
+        s2.
+        s4. s8 r8 r16 <c f aes c>
+        <c f aes c>4.^> <c ees g>8 r r
+      }
+      \new Staff \relative c {
+        \global
+        \clef "bass"
+        <<
         {
           \once \override DynamicText #'X-offset = #-3
           <ees g c>2.~->^\f
@@ -494,12 +495,13 @@ global = {
           <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
-    }
+        >>
+        r8 r16 <f, c' aes'>16
+        <f c' aes'>4.-> <c' g'>8 r r
+      }
+    >>
   >>
->>
+}
 @end lilypond
 @end ignore
 
@@ -735,7 +737,7 @@ We can also measure LilyPond's ability to make music engraving decisions
 automatically by comparing LilyPond's output to the output of a
 commercial software product.  In this case we have chosen Finale 2008,
 which is one of the most popular commercial score writers, particularly
-in North America.  Sibelius is their major rival and they appear to be
+in North America.  Sibelius is its major rival and appears to be
 especially strong in the European market.
 
 For our comparison we selected Bach's Fugue in G minor from the
@@ -788,10 +790,12 @@ partII = \relative c' {
   d4 r4 r8 d'16 c bes8 c16 d
   ees8 d c ees a, r r4
 }
+
 partIII = \relative c' {
   \voiceOne
   r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a
 }
+
 partIV = \relative c {
   \voiceTwo
   d4 r r2
@@ -826,7 +830,7 @@ partIV = \relative c {
     }
     \context {
       \PianoStaff
-      \override StaffGrouper #'between-staff-spacing #'padding = #1
+      \override StaffGrouper #'staff-staff-spacing #'padding = #1
     }
   }
 }
@@ -837,7 +841,7 @@ Some shortcomings in the unedited Finale output include:
 @item Most of the beams extend too far off the staff.  A beam that points
 towards the center of the staff should have a length of about one
 octave, but engravers shorten this when the beam points away from the
-staff in multi-voice music.  The Finale beaming can be easily improved
+staff in multi-voice music.  The Finale beaming can easily be improved
 with their Patterson Beams plug-in, but we elected to skip that step for
 this example.
 @item Finale doesn't adjust the positions of interlocking note heads,
@@ -846,16 +850,19 @@ lower voices exchange positions temporarily:
 
 @lilypond
 collide = \once \override NoteColumn #'force-hshift = #0
-\new Score <<
-  \new Voice = "sample" \relative c''{
-    \key g \minor
-    <<
-      { \voiceOne g4 \collide g4 }
-      \new Voice { \voiceTwo bes \collide bes }
-    >>
-  }
-  \new Lyrics \lyricsto "sample" \lyricmode { "good " " bad" }
->>
+
+\score {
+  <<
+    \new Voice = "sample" \relative c''{
+      \key g \minor
+      <<
+        { \voiceOne g4 \collide g4 }
+        \new Voice { \voiceTwo bes \collide bes }
+      >>
+    }
+    \new Lyrics \lyricsto "sample" \lyricmode { "good " " bad" }
+  >>
+}
 @end lilypond
 
 @item Finale has placed all of the rests at fixed heights on the staff.
@@ -1358,13 +1365,19 @@ graphical objects have all directions down (or left).  The second
 chord has all directions up (right).
 
 @lilypond[quote,ragged-right]
-\new Score \with {
-   \override SpacingSpanner #'spacing-increment = #3
-   \override TimeSignature #'transparent = ##t
-} \relative c' {
-   \stemDown <e g b>4_>-\arpeggio
-   \override Arpeggio #'direction = #RIGHT
-   \stemUp <e g b>4^>-\arpeggio
+\score {
+  \relative c' {
+    \stemDown <e g b>4_>-\arpeggio
+    \override Arpeggio #'direction = #RIGHT
+    \stemUp <e g b>4^>-\arpeggio
+  }
+  \layout {
+    \context {
+      \Score
+      \override SpacingSpanner #'spacing-increment = #3
+      \override TimeSignature #'transparent = ##t
+    }
+  }
 }
 @end lilypond
 
@@ -1539,10 +1552,7 @@ following example combines some more exotic constructs.
     >> }
   >>
   \midi {
-    \context {
-      \Score
-      tempoWholesPerMinute = #(ly:make-moment 60 8)
-    }
+    \tempo 8 = 60
   }
   \layout {
     \context {
@@ -1714,7 +1724,7 @@ partIV = \relative c {
     }
     \context {
       \PianoStaff
-      \override StaffGrouper #'between-staff-spacing #'padding = #1
+      \override StaffGrouper #'staff-staff-spacing #'padding = #1
     }
   }
 }