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diff --git a/Documentation/hu/learning/fundamental.itely b/Documentation/hu/learning/fundamental.itely
index fe5a218ca3..ab557f518f 100644
--- a/Documentation/hu/learning/fundamental.itely
+++ b/Documentation/hu/learning/fundamental.itely
@@ -11,7 +11,7 @@
@c Translators: Griechisch Erika, Harmath Dénes
@c -*- coding: utf-8; mode: texinfo; -*-
-@c \version "2.19.21"
+@c \version "2.19.22"
@node Alapfogalmak
@chapter Alapfogalmak
@translationof Fundamental concepts
@@ -774,12 +774,12 @@ Leginkább viszont akkor van szükségünk többszörös szólamokra, amikor a h
@c The following should appear as music without code
@c The three voice styles should be defined in -init
@lilypond[quote,ragged-right]
-\new Staff \relative c'' {
+\new Staff \relative {
\key aes \major
<<
{ % 1. szólam
\voiceOneStyle
- c2 aes4. bes8
+ c''2 aes4. bes8
}
\\ % 2. szólam
{ \voiceTwoStyle
@@ -952,10 +952,10 @@ The red diamond-shaped notes demonstrate that the main melody is now in a single
permitting a phrasing slur to be drawn over them.
@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
+\new Staff \relative {
\voiceOneStyle
% A következŠhangok monofónok
- c16^( d e f
+ c'16^( d e f
% Szimultán rész három szólammal
<<
% Continue the main voice in parallel
@@ -1009,11 +1009,11 @@ Létrehozhatunk többszörösen beágyazott polifón szerkezetet is, és ha a sz
A szólamokat akkor érdemes Ãgy Ãrni, ha a zene csak egy kis része polifón. Viszont amikor az egész ötvonalas kotta nagyrésze polifón, egyszerűbb, ha többszörös szólamokat használunk mindenütt, -- ritkÃtott hangokkal, hogy átlépjük azokat a részeket, ahol a szólamok üresek. Az alábbi példa ezt mutatja:
@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' <<
+\new Staff \relative <<
% Initiate first voice
\new Voice {
\voiceOne
- c16^( d e f g4 f e | d2 e2) |
+ c'16^( d e f g4 f e | d2 e2) |
}
% Initiate second voice
\new Voice {
@@ -1094,10 +1094,10 @@ hozzárendelhetjük a szöveget a megfelelŠszólamhoz.
@lilypond[quote,verbatim,fragment]
<<
- \new Voice = "one" \relative c'' {
+ \new Voice = "one" \relative {
\autoBeamOff
\time 2/4
- c4 b8. a16 g4. f8 e4 d c2
+ c''4 b8. a16 g4. f8 e4 d c2
}
\new Lyrics \lyricsto "one" {
No more let sins and sor -- rows grow.
@@ -1805,13 +1805,13 @@ because we omitted the context name.
@lilypond[quote,verbatim,ragged-right]
<<
- \new Staff \relative c'' {
+ \new Staff \relative {
\set Staff.instrumentName = #"Soprano"
- c4 c
+ c''4 c
}
- \new Staff \relative c' {
+ \new Staff \relative {
\set instrumentName = #"Alto" % Wrong!
- d4 d
+ d'4 d
}
>>
@end lilypond
@@ -1853,9 +1853,9 @@ So this turns off extra naturals in one staff:
\new Staff \relative {
ais'4 aes
}
- \new Staff \relative c'' {
+ \new Staff \relative {
\set Staff.extraNatural = ##f
- ais4 aes
+ ais'4 aes
}
>>
@end lilypond
@@ -1868,9 +1868,9 @@ and this turns them off in all staves:
\new Staff \relative {
ais'4 aes
}
- \new Staff \relative c'' {
+ \new Staff \relative {
\set Score.extraNatural = ##f
- ais4 aes
+ ais'4 aes
}
>>
@end lilypond
@@ -2097,14 +2097,14 @@ range from that voice only:
\new Voice \with {
\consists "Ambitus_engraver"
}
- \relative c'' {
+ \relative {
\voiceOne
- c a b g
+ c'' a b g
}
\new Voice
- \relative c' {
+ \relative {
\voiceTwo
- c e d f
+ c' e d f
}
>>
@end lilypond
@@ -2120,14 +2120,14 @@ the notes in all the voices on that staff:
}
<<
\new Voice
- \relative c'' {
+ \relative {
\voiceOne
- c a b g
+ c'' a b g
}
\new Voice
- \relative c' {
+ \relative {
\voiceTwo
- c e d f
+ c' e d f
}
>>
@end lilypond
@@ -2435,17 +2435,17 @@ bassMusic = \relative {
r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
bassWords = \sopranoWords
-upper = \relative a' {
+upper = \relative {
\clef "treble"
\global
- r4 2 4
+ r4 2 4
4. 8 2
4 2
}
-lower = \relative c, {
+lower = \relative {
\clef "bass"
\global
- 4 2 4
+ 4 2 4
4. 8 2
4 2
}
@@ -2664,17 +2664,17 @@ bassMusic = \relative {
r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 |
}
bassWords = \sopranoWords
-upper = \relative a' {
+upper = \relative {
\clef "treble"
\global
- r4 2 4
+ r4 2 4
4. 8 2
4 2
}
-lower = \relative c, {
+lower = \relative {
\clef "bass"
\global
- 4 2 4
+ 4 2 4
4. 8 2
4 2
}
@@ -3007,9 +3007,9 @@ macros, or user-defined commands) for tweaks:
dolce = \markup { \italic \bold dolce }
padText = { \once \override TextScript.padding = #5.0 }
fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p }
-violin = \relative c'' {
+violin = \relative {
\repeat volta 2 {
- c4._\dolce b8 a8 g a b
+ c''4._\dolce b8 a8 g a b
\padText
c4.^"hi there!" d8 e' f g d
c,4.\fthenp b8 c4 c-.
@@ -3031,9 +3031,9 @@ variables. It's a lot harder to read, especially
the last line.
@example
-violin = \relative c'' @{
+violin = \relative @{
\repeat volta 2 @{
- c4._\markup @{ \italic \bold dolce @} b8 a8 g a b
+ c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b
\once \override TextScript.padding = #5.0
c4.^"hi there!" d8 e' f g d
c,4.\markup @{ \dynamic f \italic \small @{ 2nd @}
@@ -3056,7 +3056,7 @@ can think of these as functions).
@lilypond[quote,verbatim,ragged-right]
padText =
-#(define-music-function (parser location padding) (number?)
+#(define-music-function (padding) (number?)
#{
\once \override TextScript.padding = #padding
#})
@@ -3161,7 +3161,7 @@ This command sets the property @code{skipBars} in the
this option to the music above, leads to the following result
@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
+\transpose f c' \relative {
\time 2/4
\set Score.skipBars = ##t
R2*3