Doc-fr: Learning Manual full update

[lilypond.git] / Documentation / user / changing-defaults.itely

diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index a1b366fded9553760147bb997454f60b9280920b..b63980e924431bc738d5dba35a20ff9a648fa636 100644 (file)
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -443,35 +443,32 @@ in this way for the duration of the piece:
 @lilypond[quote,verbatim]
 musicA = \relative c'' { d4 d d d }
 musicB = \relative c'' { g4 g g g }
-\score {
-  \new Staff {
-    <<
-      \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
-      \new Voice = "B" { s1*5 }  % Keep Voice "B" alive for 5 bars
-      {
-        \context Voice = "A" {
-          \voiceOneStyle
-          \musicA
-        }
-        \context Voice = "B" {
-        \voiceTwoStyle
-          \musicB
-        }
-        \context Voice = "A" {
-          % voiceOneStyle continues as Voice A is kept alive
-          \musicA
-        }
-        \context Voice = "B" {
-          % voiceTwoStyle continues, as Voice "B" is kept alive
-          \musicB
-        }
-        \context Voice = "A" {
-          % Voice "A" is still alive
-          \musicA
-        }
-      }
-    >>
+keepVoicesAlive = {
+  <<
+    \new Voice = "A" { s1*5 }  % Keep Voice "A" alive for 5 bars
+    \new Voice = "B" { s1*5 }  % Keep Voice "B" alive for 5 bars
+  >>
+}
+
+music = {
+  \context Voice = "A" {
+    \voiceOneStyle
+    \musicA
+  }
+  \context Voice = "B" {
+    \voiceTwoStyle
+    \musicB
   }
+  \context Voice = "A" { \musicA }
+  \context Voice = "B" { \musicB }
+  \context Voice = "A" { \musicA }
+}
+
+\score {
+  \new Staff <<
+    \keepVoicesAlive
+    \music
+  >>
 }
 @end lilypond
 
@@ -485,7 +482,7 @@ sections, of course.
 @lilypond[quote,verbatim]
 melody = \relative c'' { a4 a a a }
 accompaniment = \relative c' { d4 d d d }
-words = \lyricmode { These words con -- tain large gaps }
+words = \lyricmode { These words fol -- low the mel -- o -- dy }
 \score {
   <<
     \new Staff = "music" {
@@ -518,7 +515,7 @@ words = \lyricmode { These words con -- tain large gaps }
 @end lilypond
 
 An alternative way, which may be better in many circumstances, is
-to keep the melody line alive by simply include spacer notes to
+to keep the melody line alive by simply including spacer notes to
 line it up correctly with the accompaniment:
 
 @lilypond[quote,verbatim]
@@ -534,7 +531,7 @@ accompaniment = \relative c' {
   d4 d d d
   d4 d d d
 }
-words = \lyricmode { These words con -- tain large gaps }
+words = \lyricmode { These words fol -- low the mel -- o -- dy }
 
 \score {
   <<
@@ -1635,7 +1632,7 @@ command to remain immediately adjacent to the object to which it is
 to apply after the input file has been converted to a music stream.
 This is often not the case, as many additional elements are inserted
 into the music stream implicitly.  For example, when a note which is
-not part of a chord is processed, Lilypond implicitly inserts a
+not part of a chord is processed, LilyPond implicitly inserts a
 @code{ChordEvent} event before the note, so separating the tweak
 from the note.  However, if chord symbols are placed round the
 tweak and the note, the @code{\tweak} command comes after the
@@ -1676,12 +1673,12 @@ and @code{\tweak} may be used to modify any single occurrence of
 these items.
 
 Notably the @code{\tweak} command cannot be used to modify stems,
-beams or accidentals, since these are generated later by note heads,
-rather than by music elements in the input stream.  Nor can a
-@code{\tweak} command be used to modify clefs or time signatures,
-since these become separated from any preceding @code{\tweak}
-command in the input stream by the automatic insertion of extra
-elements required to specify the context.
+beams or accidentals directly, since these are generated later by
+note heads, rather than by music elements in the input stream.
+Nor can a @code{\tweak} command be used to modify clefs or time
+signatures, since these become separated from any preceding
+@code{\tweak} command in the input stream by the automatic
+insertion of extra elements required to specify the context.
 
 But the @code{\tweak} command can be used as an alternative to
 the @code{\override} command to modify those notational elements
@@ -1954,6 +1951,15 @@ indicator is @strong{always} required before
 @item articulation shortcuts, e.g. @code{-.}, @code{->}, @code{--}
 @end itemize
 
+These indications affect only the next note.
+
+@lilypond[verbatim,quote,relative=2]
+c2( c)
+c2_( c)
+c2( c)
+c2^( c)
+@end lilypond
+
 @strong{The direction property}
 
 The position or direction of many layout objects is controlled
@@ -1991,6 +1997,17 @@ TrillPitchAccidental - not tried
 TrillPitchGroup - not tried
 @end ignore
 
+These indications affect all notes until they are cancelled.
+
+@lilypond[verbatim,quote,relative=2]
+c2( c)
+\slurDown
+c2( c)
+c2( c)
+\slurNeutral
+c2( c)
+@end lilypond
+
 
 
 @node Distances and measurements
@@ -3264,6 +3281,11 @@ Notation Reference:
 @node Modifying ties and slurs
 @unnumberedsubsubsec Modifying ties and slurs
 
+@cindex slurs, modifying
+@cindex ties, modifying
+@cindex Bézier curves
+@cindex Bézier control points
+
 Ties, slurs and phrasing slurs are drawn as third-order Bézier
 curves.  If the shape of the tie or slur which is calculated
 automatically is not optimum, the shape may be modified manually by
@@ -3312,13 +3334,16 @@ scaling can be achieved by applying the same transformation to the
 curve's control points.
 
 For the example above the following override gives a satisfactory
-tie:
+tie.  Note the placement -- it has to be immediately before the note
+to which the start of the tie (or slur) is attached.
 
 @lilypond[verbatim,quote,relative=1]
 <<
-  \once \override Tie
-    #'control-points = #'((1 . -1) (3 . 0.6) (12.5 . 0.6) (14.5 . -1))
-  { e1 ~ e1 }
+  {
+    \once \override Tie
+      #'control-points = #'((1 . -1) (3 . 0.6) (12.5 . 0.6) (14.5 . -1))
+     e1 ~ e1
+  }
 \\
   { r4 <g c,> <g c,> <g c,>4  }
 >>