Run scripts/auxiliar/update-with-convert-ly.sh

[lilypond.git] / Documentation / nl / learning / fundamental.itely

diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely
index a129a464ff89b79c8612786e9a46b80d110f4d94..d6bc8d04cd1e1e4c375fe294fcbc8a032656a516 100644 (file)
--- a/Documentation/nl/learning/fundamental.itely
+++ b/Documentation/nl/learning/fundamental.itely
@@ -12,7 +12,7 @@
 @c Translation checker:
 @c Translation checker committish:
 
-@c \version "2.19.2"
+@c \version "2.19.21"
 
 @node Fundamentele concepten
 @translationof Fundamental concepts
@@ -91,8 +91,8 @@ als je het eenvoudige invoer geeft.  LilyPond behandelt invoer
 zoals dit:
 
 @example
-\relative c'' @{
-  c4 a d c
+\relative @{
+  c''4 a d c
 @}
 @end example
 
@@ -104,8 +104,8 @@ als een afkorting voor dit:
   \score @{
     \new Staff @{
       \new Voice @{
-        \relative c'' @{
-          c4 a b c
+        \relative @{
+          c''4 a b c
         @}
       @}
     @}
@@ -246,8 +246,8 @@ variabelen, zoals getoond in @ref{Stukken organiseren met
 variabelen}.  Alle sjablonen gebruiken dat:
 
 @example
-melodie = \relative c' @{
-  c4 a b c
+melodie = \relative @{
+  c'4 a b c
 @}
 
 \score @{
@@ -367,8 +367,8 @@ At this stage, we could start filling in notes.  Inside the curly
 braces next to @code{\new Voice = "vocal"}, we could start writing
 
 @example
-\relative c'' @{
-  r4 d8\noBeam g, c4 r
+\relative @{
+  r4 d''8\noBeam g, c4 r
 @}
 @end example
 
@@ -386,10 +386,10 @@ So, adding a few notes and a bass clef for the left hand, we now
 have a piece of real music:
 
 @lilypond[verbatim,quote,ragged-right]
-melody = \relative c'' { r4 d8\noBeam g, c4 r }
+melody = \relative { r4 d''8\noBeam g, c4 r }
 text   = \lyricmode { And God said, }
-upper  = \relative c'' { <g d g,>2~ <g d g,> }
-lower  = \relative c { b2 e }
+upper  = \relative { <g' d g,>2~ <g d g,> }
+lower  = \relative { b,2 e }
 
 \score {
   <<
@@ -435,8 +435,8 @@ duration of three notes:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -462,8 +462,8 @@ as follows:
 
 @lilypond[verbatim,quote,ragged-right]
 \new Staff = "main" {
-  \relative g' {
-    r4 g8 g c4 c8 d |
+  \relative {
+    r4 g'8 g c4 c8 d |
     e4 r8
     <<
       { f8 c c }
@@ -704,9 +704,9 @@ voice in context @code{"1"} and the lowest voice in context
 of slurs, stems, ties, dynamics etc., is set appropriately.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
   << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
@@ -728,9 +728,9 @@ split across the same voices in two constructs, shown here in the
 blue triangle voice.
 
 @lilypond[quote,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
   % Main voice
-  c16 d e f
+  c'16 d e f
   <<  % Bar 1
     {
       \voiceOneStyle
@@ -820,10 +820,10 @@ later sections.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     {
       % Ignore these for now - they are explained in Ch 4
@@ -900,10 +900,10 @@ we have learnt, using the @code{<< \\  >>} construct to
 enter the music of the first bar in three voices:
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<
-    { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
+    { c''2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
   >> |
   <c ees aes c>1 |
 }
@@ -923,10 +923,10 @@ and placing the music in voice four.  This is done by simply
 adding another pair of @code{\\}.
 
 @lilypond[quote,verbatim,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
   \key aes \major
   <<  % Voice one
-    { c2 aes4. bes8 }
+    { c''2 aes4. bes8 }
   \\  % Voice two
     { <ees, c>2 des }
   \\  % Omit Voice three
@@ -985,8 +985,8 @@ the previous section:
 
 @example
 \new Staff @{
-  \relative c' @{
-    << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+  \relative @{
+    << @{ e'4 f g a @} \\ @{ c,4 d e f @} >>
   @}
 @}
 @end example
@@ -996,8 +996,8 @@ is equivalent to
 
 @example
 \new Staff <<
-  \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
-  \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+  \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @}
+  \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @}
 >>
 @end example
 
@@ -1006,8 +1006,8 @@ Both of the above would produce
 @c The following example should not display the code
 @lilypond[ragged-right,quote]
 \new Staff <<
-  \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
-  \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+  \new Voice = "1" { \voiceOne \relative { e'4 f g a } }
+  \new Voice = "2" { \voiceTwo \relative { c'4 d e f } }
 >>
 @end lilypond
 
@@ -1028,9 +1028,9 @@ Let us see in some simple examples exactly what effect
 markup, ties, slurs, and dynamics:
 
 @lilypond[quote,ragged-right,verbatim]
-\relative c' {
+\relative {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ 8 e4( f | g4 a) b-> c |
+  c'4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1099,8 +1099,8 @@ voice appears only briefly this might be a more natural way to
 typeset the music:
 
 @lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
-  c16^( d e f
+\new Staff \relative {
+  c'16^( d e f
   <<
     { g4 f e | d2 e) | }
     \new Voice {
@@ -1270,14 +1270,14 @@ rather than music.
 @lilypond[quote,verbatim]
 global = { \key f \major \time 6/8 \partial 8 }
 
-SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
+SopOneMusic = \relative {
+  c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
 }
-SopTwoMusic = \relative c' {
-  r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
+SopTwoMusic = \relative {
+  r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes'
 }
 SopTwoLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn,
@@ -1329,10 +1329,10 @@ examples this is often called @q{global}.
 @lilypond[quote,verbatim]
 keyTime = { \key c \major \time 4/4 \partial 4 }
 
-SopMusic   = \relative c' { c4 | e4. e8 g4  g    | a4   a   g  }
-AltoMusic  = \relative c' { c4 | c4. c8 e4  e    | f4   f   e  }
-TenorMusic = \relative c  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
-BassMusic  = \relative c  { c4 | c4. c8 c4  c    | f8 g a b c4 }
+SopMusic   = \relative { c'4 | e4. e8 g4  g    | a4   a   g  }
+AltoMusic  = \relative { c'4 | c4. c8 e4  e    | f4   f   e  }
+TenorMusic = \relative  { e4 | g4. g8 c4.   b8 | a8 b c d e4 }
+BassMusic  = \relative  { c4 | c4. c8 c4  c    | f8 g a b c4 }
 
 VerseOne =
   \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, }
@@ -1508,8 +1508,8 @@ annotated real-music example:
       \clef "treble"
       \key g \minor
       \new Voice {  % create voice for RH notes
-        \relative c'' {  % start of RH notes
-          d4 ees16 c8. |
+        \relative {  % start of RH notes
+          d''4 ees16 c8. |
           d4 ees16 c8. |
         }  % end of RH notes
       }  % end of RH voice
@@ -1519,14 +1519,14 @@ annotated real-music example:
       \key g \minor
       \new Voice {  % create LH voice one
         \voiceOne
-        \relative g {  % start of LH voice one notes
+        \relative {  % start of LH voice one notes
           g8 <bes d> ees, <g c> |
           g8 <bes d> ees, <g c> |
         }  % end of LH voice one notes
       }  % end of LH voice one
       \new Voice {  % create LH voice two
         \voiceTwo
-        \relative g {  % start of LH voice two notes
+        \relative {  % start of LH voice two notes
           g4 ees |
           g4 ees |
         }  % end of LH voice two notes
@@ -1791,8 +1791,8 @@ So this turns off extra naturals in one staff:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Staff.extraNatural = ##f
@@ -1806,8 +1806,8 @@ and this turns them off in all staves:
 
 @lilypond[quote,verbatim,ragged-right]
 <<
-  \new Staff \relative c'' {
-    aeses2 aes
+  \new Staff \relative {
+    aeses'2 aes
   }
   \new Staff \relative c'' {
     \set Score.extraNatural = ##f
@@ -1881,13 +1881,13 @@ like this:
 @lilypond[quote,verbatim,ragged-right]
 <<
   \new Staff {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
   \new Staff \with { extraNatural = ##f } {
-    \relative c'' {
-      gisis4 gis aeses aes
+    \relative {
+      gisis'4 gis aeses aes
     }
   }
 >>
@@ -1924,8 +1924,8 @@ throughout the @code{\score} or @code{\book} block in which the
 @lilypond[verbatim,quote]
 \score {
   \new Staff {
-    \relative c'' {
-      cisis4 e d cis
+    \relative {
+      cisis''4 e d cis
     }
   }
   \layout {
@@ -1944,13 +1944,13 @@ within the score:
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
     \new Staff {
-      \relative c'' {
-        gisis4 gis aeses aes
+      \relative {
+        gisis'4 gis aeses aes
       }
     }
   >>
@@ -2012,8 +2012,8 @@ produced by the @code{Staff_symbol_engraver}.
 \new Staff \with {
   \remove "Staff_symbol_engraver"
 }
-\relative c' {
-  c4 d
+\relative {
+  c'4 d
   \set fontSize = #-4  % make note heads smaller
   e4 f |
   \set fontSize = #2.5  % make note heads larger
@@ -2098,24 +2098,24 @@ staff in a four-staff score, we could write
 \score {
   <<
     \new Staff {
-      \relative c'' {
-        c4 a b g
+      \relative {
+        c''4 a b g
       }
     }
     \new Staff {
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "G_8"
-      \relative c' {
-        c4 a b g
+      \relative {
+        c'4 a b g
       }
     }
     \new Staff {
       \clef "bass"
-      \relative c {
+      \relative {
         c4 a b g
       }
     }
@@ -2177,7 +2177,7 @@ soprano and cello.  In this case, we would start with the
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2206,7 +2206,7 @@ Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 @example
 \version @w{"@version{}"}
 
-melody = \relative c' @{
+melody = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2244,7 +2244,7 @@ different notes.
 @example
 \version @w{"@version{}"}
 
-sopranoMusic = \relative c' @{
+sopranoMusic = \relative @{
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2255,7 +2255,7 @@ sopranoLyrics = \lyricmode @{
   Aaa Bee Cee Dee
 @}
 
-celloMusic = \relative c @{
+celloMusic = \relative @{
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2312,7 +2312,7 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right,addversion]
-sopranoMusic = \relative c' {
+sopranoMusic = \relative {
   \clef "treble"
   \key c \major
   \time 4/4
@@ -2323,7 +2323,7 @@ sopranoLyrics = \lyricmode {
   Aaa Bee Cee Dee
 }
 
-celloMusic = \relative c {
+celloMusic = \relative {
   \clef "bass"
   \key c \major
   \time 4/4
@@ -2369,29 +2369,29 @@ from Handel's Messiah:
 @lilypond[quote,ragged-right]
 global = { \key d \major \time 4/4 }
 
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
 
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 |
 }
 altoWords = \sopranoWords
 
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
 
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 
@@ -2600,26 +2600,26 @@ for the three bars of the example above gives:
 
 @lilypond[quote,verbatim,ragged-right,addversion]
 global = { \key d \major \time 4/4 }
-sopranoMusic = \relative c'' {
+sopranoMusic = \relative {
   \clef "treble"
-  r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+  r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 |
 }
 sopranoWords = \lyricmode {
   Wor -- thy | is the lamb | that was slain |
 }
-altoMusic = \relative a' {
+altoMusic = \relative {
   \clef "treble"
-  r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+  r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 |
 }
 altoWords = \sopranoWords
-tenorMusic = \relative c' {
+tenorMusic = \relative {
   \clef "G_8"
-  r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+  r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 |
 }
 tenorWords = \sopranoWords
-bassMusic = \relative c' {
+bassMusic = \relative {
   \clef "bass"
-  r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+  r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
 }
 bassWords = \sopranoWords
 upper = \relative a' {
@@ -2931,19 +2931,19 @@ is to add the music, and combine all the parts together.
   composer = "J S Bach"
 }
 keyTime = { \key c \minor \time 4/4 }
-ManualOneVoiceOneMusic = \relative g' {
-  g4 g f ees |
+ManualOneVoiceOneMusic = \relative {
+  g'4 g f ees |
   d2 c |
 }
-ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ManualOneVoiceTwoMusic = \relative {
+  ees'16 d ees8~ 16 f ees d c8 d~ d c~ |
   8 c4 b8 c8. g16 c b c d |
 }
-ManualTwoMusic = \relative c' {
-  c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ManualTwoMusic = \relative {
+  c'16 b c8~ 16 b c g a8 g~ 16 g aes ees |
   f16 ees f d g aes g f ees d ees8~ 16 f ees d |
 }
-PedalOrganMusic = \relative c {
+PedalOrganMusic = \relative {
   r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
@@ -2997,7 +2997,7 @@ Music Glossary:
 By this point, you've seen this kind of thing:
 
 @lilypond[quote,verbatim,ragged-right]
-hornNotes = \relative c'' { c4 b dis c }
+hornNotes = \relative { c''4 b dis c }
 
 \score {
   {
@@ -3009,8 +3009,8 @@ hornNotes = \relative c'' { c4 b dis c }
 You may even realize that this could be useful in minimalist music:
 
 @lilypond[quote,verbatim,ragged-right]
-fragmentA = \relative c'' { a4 a8. b16 }
-fragmentB = \relative c'' { a8. gis16 ees4 }
+fragmentA = \relative { a'4 a8. b16 }
+fragmentB = \relative { a'8. gis16 ees4 }
 
 violin = \new Staff {
   \fragmentA \fragmentA |
@@ -3094,8 +3094,8 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative {
+  c'''4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
@@ -3126,7 +3126,7 @@ suppose that the file @file{horn-music.ly} contains the following part
 of a horn/@/bassoon duo
 
 @example
-hornNotes = \relative c @{
+hornNotes = \relative @{
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 @}
@@ -3163,7 +3163,7 @@ tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 
 @lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
   \time 2/4
   r4 f8 a | cis4 f | e4 d |
 }
@@ -3221,7 +3221,7 @@ that the other voice is in @code{bassoonNotes} in the file
 leading to
 
 @lilypond[quote,ragged-right]
-\relative c <<
+\relative <<
   \new Staff {
     \clef "treble"
     \time 2/4