X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Flearning%2Ffundamental.itely;h=c64af67ed473d7116901149afe108c447848a065;hb=144235e529276c3d8fd2ba88705177f47963a385;hp=8d6d0060d17fae07f2fb9a729486257e0ac0bc5d;hpb=785441aeb8cc557217d1b0658ef88d058f58eeb4;p=lilypond.git

diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely
index 8d6d0060d1..c64af67ed4 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.17.11"
+@c \version "2.19.2"
 
 @node Fundamental concepts
 @chapter Fundamental concepts
@@ -125,10 +125,9 @@ advisable to always create staves and voices explicitly.}
 For now, though, let us return to the first example and examine the
 @code{\score} command, leaving the others to default.
 
-A @code{\score} block must always contain just one music expression,
-and this must appear immediately after the @code{\score} command.
-Remember that a music expression could be anything from a single
-note to a huge compound expression like
+A @code{\score} block must always contain exactly one music
+expression.  Remember that a music expression could be anything
+from a single note to a huge compound expression like
 
 @example
 @{
@@ -269,11 +268,11 @@ We didn't skip over it at all.  The big mystery is simply that
 there @emph{is} no mystery.  This line explains it all:
 
 @quotation
-@emph{A @code{\score} block must begin with a compound music expression.}
+@emph{A @code{\score} block must contain exactly one music expression.}
 @end quotation
 
 @noindent
-To understand what is meant by a music expression and a compound
+To understand what is meant by a
 music expression, you may find it useful to review the tutorial,
 @ref{Music expressions explained}.  In that section, we saw how to
 build big music expressions from small pieces -- we started from
@@ -684,7 +683,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately.
   c16 d e f
   %    Voice "1"     Voice "2"                Voice "3"
   << { g4 f e } \\ { r8 e4 d c8~ } >> |
-  << { d2 e }   \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> |
+  << { d2 e }   \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
 }
 @end lilypond
 
@@ -722,7 +721,7 @@ blue triangle voice.
     { d2 e }
   \\
      % Voice 2 continues
-    { c8 b16 a b8 g~ g2 }
+    { c8 b16 a b8 g~ 2 }
   \\
     {
       \voiceThreeStyle
@@ -749,7 +748,7 @@ used here) reverts the style back to the default.
 We shall see later how commands like these may be created by the
 user.
 See @ref{Visibility and color of objects} and
-@ref{Using variables for tweaks}.
+@ref{Using variables for layout adjustments}.
 
 @cindex polyphony and relative note entry
 @cindex relative note entry and polyphony
@@ -1005,25 +1004,25 @@ markup, ties, slurs, and dynamics:
 @lilypond[quote,ragged-right,verbatim]
 \relative c' {
   % Default behavior or behavior after \oneVoice
-  c4 d8~ d e4( f | g4 a) b-> c |
+  c4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
 @lilypond[quote,ragged-right,verbatim]
 \relative c' {
   \voiceOne
-  c4 d8~ d e4( f | g4 a) b-> c |
+  c4 d8~ 8 e4( f | g4 a) b-> c |
   \oneVoice
-  c,4 d8~ d e4( f | g4 a) b-> c |
+  c,4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
 @lilypond[quote,ragged-right,verbatim]
 \relative c' {
   \voiceTwo
-  c4 d8~ d e4( f | g4 a) b-> c |
+  c4 d8~ 8 e4( f | g4 a) b-> c |
   \oneVoice
-  c,4 d8~ d e4( f | g4 a) b-> c |
+  c,4 d8~ 8 e4( f | g4 a) b-> c |
 }
 @end lilypond
 
@@ -1051,7 +1050,7 @@ permitting a phrasing slur to be drawn over them.
     \new Voice {
       % Set stems, etc., down
       \voiceTwo
-      r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+      r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
     }
     % Initiate third voice
     \new Voice {
@@ -1082,7 +1081,7 @@ typeset the music:
       \voiceTwo
       r8 e4 d c8~ |
       <<
-        { c8 b16 a b8 g~ g2 | }
+        { c8 b16 a b8 g~ 2 | }
         \new Voice {
           \voiceThree
           s4 b c2 |
@@ -1113,7 +1112,7 @@ as here:
   \new Voice {
     % Set stems, etc, down
     \voiceTwo
-    s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+    s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
   }
   % Initiate third voice
   \new Voice {
@@ -1172,7 +1171,11 @@ have no shift or the same shift specified, the error message
 
 
 @seealso
-Notation Reference: @ruser{Multiple voices}.
+Learning Manual:
+@ref{Moving objects}.
+
+Notation Reference:
+@ruser{Multiple voices}.
 
 
 @node Voices and vocals
@@ -1246,7 +1249,7 @@ rather than music.
 global = { \key f \major \time 6/8 \partial 8 }
 
 SopOneMusic = \relative c'' {
-  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4
+  c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
 }
 SopOneLyrics = \lyricmode {
   Let | flee -- cy flocks the | hills a -- dorn, __
@@ -1603,8 +1606,7 @@ from the name, or vice versa.
   @tab Engraves clefs
 @item Completion_heads_engraver
   @tab Splits notes which cross bar lines
-@c The old Dynamic_engraver is deprecated. -jm
-@item New_dynamic_engraver
+@item Dynamic_engraver
   @tab Creates hairpins and dynamic texts
 @item Forbid_line_break_engraver
   @tab Prevents line breaks if a musical element is still active
@@ -1792,9 +1794,9 @@ and this turns them off in all staves:
 >>
 @end lilypond
 
-As another example, if @code{clefOctavation} is set in
+As another example, if @code{clefTransposition} is set in
 the @code{Score} context this immediately changes the value
-of the octavation in all current staves and sets a new default
+of the transposition in all current staves and sets a new default
 value which will be applied to all staves.
 
 The opposite command, @code{\unset}, effectively removes the
@@ -1895,7 +1897,7 @@ The statement which sets the property value is the same as that in a
 @code{\context} block within a @code{\layout} block.  Each
 @code{\context} block will affect all contexts of the type specified
 throughout the @code{\score} or @code{\book} block in which the
-@code{\layout} block appears.  Here is a example to show the format:
+@code{\layout} block appears.  Here is an example to show the format:
 
 @lilypond[verbatim,quote]
 \score {
@@ -2436,7 +2438,15 @@ lower = \relative c, {
 }
 @end lilypond
 
-None of the templates provides this layout exactly.  The nearest is
+@warning{This layout can be achieved very easily using the built-in
+template: @code{satb.ly}, see @ref{Built-in templates}.  But for ease
+of use this template deliberately hides the necessary context
+structure, instead providing it automatically.  So for purposes of
+learning let us see how to build this up from scratch.  You may need
+to do this if the built-in template does not meet your needs
+adequately.}
+
+The nearest copy-and-edit template to this layout is
 @ref{SATB vocal score and automatic piano reduction} -- but we need
 to change the layout and add a piano
 accompaniment which is not derived automatically from the vocal parts.
@@ -2912,15 +2922,15 @@ ManualOneVoiceOneMusic = \relative g' {
   d2 c |
 }
 ManualOneVoiceTwoMusic = \relative c' {
-  ees16 d ees8~ ees16 f ees d c8 d~ d c~ |
-  c8 c4 b8 c8. g16 c b c d |
+  ees16 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~ c16 b c g a8 g~ g16 g aes ees |
-  f16 ees f d g aes g f ees d ees8~ ees16 f ees d |
+  c16 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 {
-  r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
+  r8 c16 d ees d ees8~ 16 a, b g c b c8 |
   r16 g ees f g f g8 c,2 |
 }
 
@@ -3050,9 +3060,6 @@ violin = \relative c'' @{
 @}
 @end example
 
-@c TODO Replace the following with a better example  -td
-@c Skylining handles this correctly without padText
-
 So far we've seen static substitution -- when LilyPond
 sees @code{\padText}, it replaces it with the stuff that
 we've defined it to be (ie the stuff to the right of
@@ -3070,12 +3077,12 @@ padText =
      \once \override TextScript.padding = #padding
    #})
 
-\relative c''' {
-  c4^"piu mosso" b a b |
+\relative c'' {
+  c4^"piu mosso" b a b
   \padText #1.8
-  c4^"piu mosso" d e f |
+  c4^"piu mosso" b a b
   \padText #2.6
-  c4^"piu mosso" fis a g |
+  c4^"piu mosso" b a b
 }
 @end lilypond