(Top): add fragment to

pertinent @lilypond entries.

diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index 66788766f080b13c14d4cb6dc305b669b38a8192..619f897ffc33d771a45c3e30f1101bc8c7b594d2 100644 (file)
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -309,7 +309,7 @@ When music is printed, a lot of notation elements must be added to the
 input, which is often bare bones.  For example, compare the input and
 output of the following example:
 
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
   cis4 cis2. g4
 @end lilypond
 
@@ -393,7 +393,7 @@ A practical application of @code{\new} is a score with many
 staves. Each part that should be on its own staff, is preceded with 
 @code{\new Staff}.
 
-@lilypond[verbatim,relative=2,raggedright]
+@lilypond[verbatim,relative=2,raggedright,fragment]
   << \new Staff { c4 c }
      \new Staff { d4 d }
   >>
@@ -500,7 +500,7 @@ This is achieved by inserting the @code{\set} command in the music,
 @end quotation
 
 For example,
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
   R1*2 
   \set Score.skipBars = ##t
   R1*2
@@ -514,7 +514,7 @@ If the @var{context} argument is left out, then the current bottom-most
 context (typically @context{ChordNames}, @context{Voice}, or
 @context{Lyrics}) is used.  In this example,
 
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
   c8 c c c
   \set autoBeaming = ##f
   c8 c c c
@@ -555,7 +555,7 @@ context.
 Settings that should only apply to a single time-step can be entered
 easily with @code{\once}, for example in
 
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
   c4
   \once \set fontSize = #4.7
   c4
@@ -620,7 +620,7 @@ where the @dots{} should be the name of an engraver. Here is a simple
 example which removes @code{Time_signature_engraver} and
 @code{Clef_engraver} from a @code{Staff} context,
 
-@lilypond[relative=1, verbatim]
+@lilypond[relative=1, verbatim,fragment]
 << \new Staff {
     f2 g
   }
@@ -649,7 +649,7 @@ have a score where each staff has its own time signature.
 @cindex polymetric scores
 
 
-@lilypond[relative=1,raggedright,verbatim]
+@lilypond[relative=1,raggedright,verbatim,fragment]
 \new Score \with {
   \remove "Timing_engraver"
 } <<
@@ -702,7 +702,7 @@ unit). Since the command specifies @context{Staff} as context, it only
 applies to the current staff. Other staves will keep their normal
 appearance.  Here we see the command in action:
 
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
   c4
   \override Staff.Stem #'thickness = #4.0 
   c4
@@ -718,7 +718,7 @@ Analogous to @code{\set}, the @var{context} argument may be left out,
 causing it to default to @context{Voice}, and adding @code{\once} applies
 the change during one timestep only 
 
-@lilypond[verbatim,relative=2]
+@lilypond[fragment,verbatim,relative=2]
   c4
   \once \override Stem #'thickness = #4.0 
   c4
@@ -731,7 +731,7 @@ beams, the @code{\override} command must be executed at the moment when
 the object is created. In this example,
 
 
-@lilypond[verbatim,relative=2]
+@lilypond[fragment,verbatim,relative=2]
   \override Slur #'thickness = #3.0
   c8[( c
   \override Beam #'thickness = #0.6
@@ -1092,7 +1092,7 @@ the left, and 1.8 staff space downwards:
 
 @cindex setting object properties
 
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=1,verbatim]
 \stemUp
 f-5
 \once \override Fingering
@@ -1142,7 +1142,7 @@ symbols that are printed above or below notes. We only give an
 example; a more elaborate explanation is in @ref{Constructing a
 tweak}:
 
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=1,verbatim]
   c2\fermata
   \override Script #'padding = #3
   b2\fermata
@@ -1204,7 +1204,7 @@ and they are exactly matched to LilyPond version installed.
 Suppose we want to move the fingering indication in the fragment
 below:
 
-@lilypond[relative=2,verbatim]
+@lilypond[fragment,relative=2,verbatim]
 c-2
 \stemUp
 f
@@ -1372,7 +1372,7 @@ definition.
 
 Recall that we wanted to change the position of the @b{2} in 
 
-@lilypond[relative=2,verbatim]
+@lilypond[fragment,relative=2,verbatim]
 c-2
 \stemUp
 f

diff --git a/Documentation/user/cheatsheet.itely b/Documentation/user/cheatsheet.itely
index d3515bc5dfe5837049262227c3dcb80364d2345e..4214bca3cfef97f6b29a79d9914ed1ff1656889a 100644 (file)
--- a/Documentation/user/cheatsheet.itely
+++ b/Documentation/user/cheatsheet.itely
@@ -16,7 +16,7 @@
 @item @code{1 2 8 16}
 @tab durations 
 @tab
-@lilypond[relative=2,notime]
+@lilypond[fragment,relative=2,notime]
 \set Staff.autoBeaming = ##f
 \set Staff.Clef = \turnOff
 c1 c2 c8 c16
@@ -25,7 +25,7 @@ c1 c2 c8 c16
 @item @code{c4. c4..}
 @tab augmentation dots
 @tab
-@lilypond[relative=2,notime]
+@lilypond[fragment,relative=2,notime]
 \set Staff.Clef = \turnOff
 c4. c4..  
 @end lilypond
@@ -33,21 +33,21 @@ c4. c4..
 @item @code{c d e f g a b }
 @tab scale 
 @tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,relative=1,notime]
 c d e f g a b
 @end lilypond
 
 @item @code{fis bes}
 @tab alteration 
 @tab
-@lilypond[relative=1,notime]
+@lilypond[fragment,relative=1,notime]
 fis bes
 @end lilypond
 
 @item @code{\clef treble \clef bass }
 @tab clefs
 @tab
-@lilypond[notime]
+@lilypond[fragment,notime]
 \clef treble
 s4_" "
 \clef bass

diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely
index 3d458eb7f18ff18bad0c6686d6d82e4602bc312c..644297fb1a4f24cb429ef4dc76f1dcf0c00bb4c2 100644 (file)
--- a/Documentation/user/lilypond-book.itely
+++ b/Documentation/user/lilypond-book.itely
@@ -78,7 +78,7 @@ show two simple examples here.  First a complete block:
 @noindent
 produces
 
-@lilypond
+@lilypond[fragment]
   c' d' e' f' g'2 g'
 @end lilypond
 
@@ -91,7 +91,7 @@ Then the short version:
 @noindent
 produces
 
-@lilypond[staffsize=11]{ <c' e' g'> }
+@lilypond[fragment,staffsize=11]{ <c' e' g'> }
 
 When producing texinfo, lilypond-book also generates bitmaps of the
 music, so you can make a HTML document with embedded music.
@@ -135,7 +135,7 @@ We show some examples here:
 @noindent
 produces
 
-@lilypond[staffsize=26]
+@lilypond[fragment,staffsize=26]
   c' d' e' f' g'2 g'2
 @end lilypond
 
@@ -148,7 +148,7 @@ Then the short version:
 @noindent
 produces
 
-@lilypond[staffsize=11]{<c' e' g'>}
+@lilypond[fragment,staffsize=11]{<c' e' g'>}
 
 The linewidth of the music will be adjust by examining the commands in
 the document preamble, the part of the document before
@@ -224,7 +224,7 @@ music fragments:
 </lilypond>
 @end example
 
-@lilypond[relative=2]
+@lilypond[fragment,relative=2]
   \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
 @end lilypond
 

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index bab969414139655943456d4df57d0dd03c7e504b..97f619bb3ab7299e7c289b4d334790027faf0fc3 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -396,7 +396,7 @@ DK: arpeggio, akkordbrydning,
 S: arpeggio,
 FI: arpeggio, murtosointu.
 
-@lilypond
+@lilypond[fragment]
 \notes \context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -572,7 +572,7 @@ Note value used for counting, most often half-, fourth-, and eighth notes.
 The base counting value and the number of them per measure is indicated at
 the start of the music.
 
-@lilypond
+@lilypond[fragment]
 \key g \major
 \time 4/4
 \notes\relative c'' { g4 c b a | g1 \bar "||"}
@@ -597,13 +597,13 @@ Symbol at the start of a system connecting staves.  Curly braces are used
 for connecting piano staves, angular brackets for connecting parts in an
 orchestral or choral score.
 
-@lilypond
+@lilypond[fragment]
 \notes\context GrandStaff <<
   \relative c''\context Staff = SA  { \clef treble g4 e c2 }
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12
   \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@@ -924,7 +924,7 @@ FI: asteittainen liike.
 Progressing melodically by intervals of a second.  Opposite of @aref{disjunct movement}.
 
 
-@lilypond
+@lilypond[fragment]
 \key g \major \time 4/4
 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
 @end lilypond
@@ -1040,7 +1040,7 @@ FI: cresendo, voimistuen.
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 
-@lilypond
+@lilypond[fragment]
 \key g \major \time 4/4
 \notes\relative c'' { g4 \< a b c |  d1\! \bar "|." }
 @end lilypond
@@ -1128,7 +1128,7 @@ FI: dal segno, l
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
-@lilypond
+@lilypond[fragment]
 %\override TextScript   #'font-style = #'large
 \override TextScript   #'font-shape = #'italic
 \key g \major \time 4/4
@@ -1147,7 +1147,7 @@ FI: decresendo, hiljentyen.
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c'' {
   \key g \major \time 4/4
   d4 \> c b a |  g1 \! \bar "|."
@@ -1374,7 +1374,7 @@ FI: melodian hyppiv@"a liike.
 Progressing melodically by intervals larger than a major second.  
 Opposite of @aref{conjunct movement}.
 
-@lilypond
+@lilypond[fragment]
 \key a \major
 \time 4/4
 \notes\relative c' {
@@ -1751,7 +1751,7 @@ FI: fermaatti, pid@"ake.
 
 Prolonged note or rest of indefinite duration.
 
-@lilypond
+@lilypond[fragment]
 \time 4/4
 \notes\relative c'' {
   a4 b c2^\fermata \bar "|."
@@ -2028,7 +2028,7 @@ FI: harmoninen kadenssi.
 Sequence of chords that terminate a musical phrase or
 section.  @aref{functional harmony}.
 
-@lilypond
+@lilypond[fragment]
 \notes\context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -2505,14 +2505,14 @@ whether there are two, three or four units to the measure,
 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common meter.
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c'' {
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c' {
   \time 6/8
   \key f \major
@@ -2520,7 +2520,7 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
   c'8 c c c e16 d e c \bar "||"}
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c'' {
   \time 5/4
   \key g \major
@@ -2664,7 +2664,7 @@ FI: teema, s@"avelaihe.
 The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
-@lilypond
+@lilypond[fragment]
 \set Score.TimeSignature = \turnOff
 %\override Score.TextScript #'font-style = #'large
 \notes\relative c'' {
@@ -2700,7 +2700,7 @@ DK: flertaktspause,
 S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c'' {
   a1
   \set Score.skipBars = ##t R1*3
@@ -2812,7 +2812,7 @@ but sometimes (mostly in pre baroque music) the double length note value
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 
-@lilypond
+@lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
@@ -2825,7 +2825,7 @@ subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 
-@lilypond
+@lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
@@ -2834,7 +2834,7 @@ dotted notes are also frequently used.
 }
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \notes\relative c'' {
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
@@ -2875,7 +2875,7 @@ middle of the 19th century and onwards the trill is performed with the main
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 
-@lilypond
+@lilypond[fragment]
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
@@ -2894,7 +2894,7 @@ the upper note is played first.
 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
 @emph{prall} (inverted mordent).
 
-@lilypond
+@lilypond[fragment]
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
@@ -3179,7 +3179,7 @@ DK: gen@-ta@-gel@-se,
 S: repris,
 FI: toisto.
 
-@lilypond
+@lilypond[fragment]
 \key g \major
 \time 4/4
 \notes\relative c'' {
@@ -3530,7 +3530,7 @@ FI: staccato, lyhyesti, ter@"av@"asti.
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 note head.
 
-@lilypond
+@lilypond[fragment]
 \key d \major
 \time 4/4
 \notes\relative c'' {
@@ -3696,7 +3696,7 @@ with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
-@lilypond
+@lilypond[fragment]
 \time 4/4
 \notes\relative c' {
   \partial 4
@@ -3834,7 +3834,7 @@ A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 
-@lilypond
+@lilypond[fragment]
 \context GrandStaff <<
   \context Staff = lh \notes\relative c'' {
     \time 4/4
@@ -3933,7 +3933,7 @@ FI: transponointi.
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 
-@lilypond
+@lilypond[fragment]
 \context Staff {
   \time 3/4
   \notes\relative c'' {
@@ -3943,7 +3943,7 @@ relative pitches.
 }
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
@@ -4103,7 +4103,7 @@ FI: kohotahti.
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 
-@lilypond
+@lilypond[fragment]
 \key f \major
 \time 4/4
 \notes\relative c' {

diff --git a/po/lilypond.pot b/po/lilypond.pot
index 65e846384ceb5817eeb2c9e2f89897f580f39d3f..3ab51af72b6c1154d0100f45a65df840b8bc9852 100644 (file)
--- a/po/lilypond.pot
+++ b/po/lilypond.pot
@@ -8,7 +8,7 @@ msgid ""
 msgstr ""
 "Project-Id-Version: PACKAGE VERSION\n"
 "Report-Msgid-Bugs-To: \n"
-"POT-Creation-Date: 2004-07-17 12:18+0200\n"
+"POT-Creation-Date: 2004-07-17 12:58+0200\n"
 "PO-Revision-Date: YEAR-MO-DA HO:MI+ZONE\n"
 "Last-Translator: FULL NAME <EMAIL@ADDRESS>\n"
 "Language-Team: LANGUAGE <LL@li.org>\n"
@@ -145,6 +145,8 @@ msgstr ""
 #. for --output-format.
 #. Bug in option parser: --output=foe is taken as an abbreviation
 #. for --output-format.
+#. Bug in option parser: --output=foe is taken as an abbreviation
+#. for --output-format.
 #: lilypond-book.py:82 old-lilypond-book.py:123 main.cc:138 lily/main.cc:125
 msgid "EXT"
 msgstr ""
@@ -741,6 +743,7 @@ msgstr ""
 #. FIXME: broken sentence
 #. FIXME: broken sentence
 #. FIXME: broken sentence
+#. FIXME: broken sentence
 #: all-font-metrics.cc:100 lily/all-font-metrics.cc:95
 #, c-format
 msgid "checksum mismatch for font file: `%s'"
@@ -895,6 +898,12 @@ msgstr ""
 #.
 #. last->translator_id_string ()  = get_change ()->change_to_id_string ();
 #.
+#.
+#. We could change the current translator's id, but that would make
+#. errors hard to catch
+#.
+#. last->translator_id_string ()  = get_change ()->change_to_id_string ();
+#.
 #: change-iterator.cc:93 lily/change-iterator.cc:93
 msgid "I'm one myself"
 msgstr ""
@@ -1245,6 +1254,7 @@ msgstr ""
 #. No version number or newline here.  It confuses help2man.
 #. No version number or newline here.  It confuses help2man.
 #. No version number or newline here.  It confuses help2man.
+#. No version number or newline here.  It confuses help2man.
 #: main.cc:196 lily/main.cc:181
 #, c-format
 msgid "Usage: %s [OPTIONS]... FILE..."
@@ -1369,6 +1379,9 @@ msgstr ""
 #.
 #. music for the softenon children?
 #.
+#.
+#. music for the softenon children?
+#.
 #: new-fingering-engraver.cc:155 lily/new-fingering-engraver.cc:153
 msgid "music for the martians."
 msgstr ""
@@ -1570,6 +1583,7 @@ msgstr ""
 #. this shouldn't happen, but let's continue anyway.
 #. this shouldn't happen, but let's continue anyway.
 #. this shouldn't happen, but let's continue anyway.
+#. this shouldn't happen, but let's continue anyway.
 #: separation-item.cc:53 separation-item.cc:97 lily/separation-item.cc:53
 #: lily/separation-item.cc:97
 msgid "Separation_item:  I've been drinking too much"
@@ -1602,6 +1616,8 @@ msgstr ""
 #. eaten start event?
 #. How to shut up this warning, when Voice_devnull_engraver has
 #. eaten start event?
+#. How to shut up this warning, when Voice_devnull_engraver has
+#. eaten start event?
 #: slur-engraver.cc:139 lily/slur-engraver.cc:139
 msgid "can't find start of slur"
 msgstr ""
@@ -1697,6 +1713,8 @@ msgstr ""
 #. more of a programming error.
 #. Not using ngettext's plural feature here, as this message is
 #. more of a programming error.
+#. Not using ngettext's plural feature here, as this message is
+#. more of a programming error.
 #: tfm-reader.cc:108 lily/tfm-reader.cc:108
 #, c-format
 msgid "TFM header of `%s' has only %u word (s)"
@@ -1733,6 +1751,8 @@ msgstr ""
 #. (Here really with a warning!)
 #. If there is no such symbol, we default to the numbered style.
 #. (Here really with a warning!)
+#. If there is no such symbol, we default to the numbered style.
+#. (Here really with a warning!)
 #: time-signature.cc:95 lily/time-signature.cc:95
 #, c-format
 msgid "time signature symbol `%s' not found; reverting to numbered style"
@@ -1783,6 +1803,11 @@ msgstr ""
 #.
 #. OTOH, Tristan Keuris writes 8/20 in his Intermezzi.
 #.
+#.
+#. Todo: should make typecheck?
+#.
+#. OTOH, Tristan Keuris writes 8/20 in his Intermezzi.
+#.
 #: time-signature-engraver.cc:57 lily/time-signature-engraver.cc:57
 #, c-format
 msgid "Found strange time signature %d/%d."