@end ignore
+@item
+The user is now able to specify the name of the predefined fretboard
+table. This allows the use of multiple tables, with switching between them
+based on user input.
+
+@item
+The part-combiner's decision to combine/not combine notes can now be customized
+@lilypond[quote,relative=2]
+\partcombine
+\relative c' { c2 \partcombineApart c | \partcombineChordsOnce e' e }
+\relative c' { c2 \partcombineApart c | c c }
+@end lilypond
+
+@item
+Tablature staves show fret numbers only by default. To get the
+former style, @code{\tabFullNotation} is provided.
+
@item
Funk-style and Walker-style shape notes have been added.
FretBoards now have a chordChanges property to keep repeated FretBoard objects
from being typeset.
+@item
+The vertical spacing engine has been drastically changed, making
+it more flexible and easier to control.
+
@end itemize
@example
-1- Web site
-510 web.texi
-4289 web/introduction.itexi
-1173 web/download.itexi
+579 web.texi
+4498 web/introduction.itexi
+1169 web/download.itexi
1107 macros.itexi
6447 po/lilypond-doc.pot (translate to po/@var{MY_LANGUAGE}.po)
0 search-box.ihtml
--- lilypond-texi2html.init (section TRANSLATIONS)
-13526 total
+13800 total
-2- Tutorial
-1198 web/manuals.itexi
+1200 web/manuals.itexi
124 learning.tely
-2504 learning/tutorial.itely
-4191 learning/common-notation.itely
-8017 total
+2535 learning/tutorial.itely
+4182 learning/common-notation.itely
+8041 total
-3- Fundamental Concepts, starting of Usage and Community
-10838 learning/fundamental.itely -- Fundamental concepts
+11173 learning/fundamental.itely -- Fundamental concepts
135 usage.tely
-3373 usage/running.itely
+3629 usage/running.itely
1189 usage/updating.itely
-1670 web/community.itexi
-17205 total
+1679 web/community.itexi
+17805 total
-4- Rest of Learning manual and Suggestions on writing LilyPond files
-15621 learning/tweaks.itely -- Tweaking output
-209 learning/templates.itely -- Templates
+15650 learning/tweaks.itely -- Tweaking output
+225 learning/templates.itely -- Templates
2694 usage/suggestions.itely -- Suggestions on writing LilyPond files
-18524 total
+18569 total
-5- Notation reference
355 notation.tely
91 notation/notation.itely -- Musical notation
-3518 notation/pitches.itely
-4992 notation/rhythms.itely
-1481 notation/expressive.itely
-774 notation/repeats.itely
-1639 notation/simultaneous.itely
-1855 notation/staff.itely
+3534 notation/pitches.itely
+5117 notation/rhythms.itely
+1689 notation/expressive.itely
+893 notation/repeats.itely
+1948 notation/simultaneous.itely
+2010 notation/staff.itely
935 notation/editorial.itely
-2755 notation/text.itely
+2707 notation/text.itely
81 notation/specialist.itely -- Specialist notation
-2805 notation/vocal.itely
-1521 notation/chords.itely
+4991 notation/vocal.itely
+1854 notation/chords.itely
702 notation/piano.itely
807 notation/percussion.itely
826 notation/guitar.itely
66 notation/strings.itely
242 notation/bagpipes.itely
4479 notation/ancient.itely
-6416 notation/input.itely -- Input syntax
+6856 notation/input.itely -- Input syntax
2164 notation/non-music.itely -- Non-musical notation
-9258 notation/spacing.itely -- Spacing issues
-11815 notation/changing-defaults.itely -- Changing defaults
+9277 notation/spacing.itely -- Spacing issues
+11836 notation/changing-defaults.itely -- Changing defaults
5187 notation/programming-interface.itely -- Interfaces for programmers
1966 notation/notation-appendices.itely -- Notation manual tables
252 notation/cheatsheet.itely -- Cheat sheet
-66982 total
+70865 total
-6- Rest of Application Usage
-3439 usage/lilypond-book.itely -- LilyPond-book
+3747 usage/lilypond-book.itely -- LilyPond-book
1122 usage/converters.itely -- Converting from other formats
-4561 total
+4869 total
-7- Appendices whose translation is optional
319 essay/literature.itely
@item
@code{@@code@{@dots{}@}}, @code{@@samp@{@dots{}@}} ---
-Use the @code{@@code@{@dots{}@}} command for individual
-language-specific tokens (keywords, commands, engravers, scheme
-symbols, etc.). Ideally, a single @code{@@code@{@dots{}@}} block
-should fit within one line in the PDF output. Use the
-@code{@@samp@{@dots{}@}} command when you have a short example of
-user input, unless it constitutes an entire @code{@@item} by
-itself, in which case @code{@@code@{@dots{}@}} is preferable.
-Otherwise, both should only be used when part of a larger sentence
-within a paragraph or @code{@@item}. Never use a
-@code{@@code@{@dots{}@}} or @code{@@samp@{@dots{}@}} block as a
-free-standing paragraph; use @code{@@example} instead.
+Use the @code{@@code@{@dots{}@}} command when referring to
+individual language-specific tokens (keywords, commands,
+engravers, scheme symbols, etc.) in the text. Ideally, a single
+@code{@@code@{@dots{}@}} block should fit within one line in the
+PDF output.
+
+Use the @code{@@samp@{@dots{}@}} command when you have a short
+example of user input, unless it constitutes an entire
+@code{@@item} by itself, in which case @code{@@code@{@dots{}@}} is
+preferable. Otherwise, both should only be used when part of a
+larger sentence within a paragraph or @code{@@item}. Do not use
+@code{@@code@{@dots{}@}} or @code{@@samp@{@dots{}@}} inside an
+@code{@@example} block, and do not use either as a free-standing
+paragraph; use @code{@@example} instead.
A single unindented line in the PDF has space for about 79
fixed-width characters (76 if indented). Within an @code{@@item}
@q{@code{@@q@{@@w@{@@code@{@@bs@{@}relative c''@}@}@}}}.
@item
-@code{@@command@{@dots{}@}} --- Use for command-line commands (eg.
-@samp{@@command@{lilypond-book@}}).
+@code{@@command@{@dots{}@}} --- Use when referring to command-line
+commands within the text (eg. @samp{@@command@{convert-ly@}}). Do
+not use inside an @code{@@example} block.
@item
@code{@@example} --- Use for examples of program code. Do not add
@code{@@smallexample} line by about 5 columns.
@item
-@code{@@file@{@dots{}@}} --- Use for filenames and directories.
+@code{@@file@{@dots{}@}} --- Use when referring to filenames and
+directories in the text. Do not use inside an @code{@@example}
+block.
@item
-@code{@@option@{@dots{}@}} --- Use for options to command-line
-commands (eg. @samp{@@option@{--format@}}).
+@code{@@option@{@dots{}@}} --- Use when referring to command-line
+options in the text (eg. @samp{@@option@{--format@}}). Do not use
+inside an @code{@@example} block.
@item
@code{@@verbatim} --- Prints the block exactly as it appears in
backslash (\), you must use @samp{@@bs@{@}}.
@item
-@code{@@var@{@dots{}@}} --- Use for variables.
+@code{@@var@{@dots{}@}} --- Use for metasyntactic variables (such
+as @code{@var{foo}}, @code{@var{bar}}, @code{@var{arg1}}, etc.).
+In most cases, when the @code{@@var@{@dots{}@}} command appears in
+the text (and not in an @code{@@example} block) it should be
+wrapped with an appropriate texinfo code-highlighting command
+(such as @code{@@code}, @code{@@samp}, @code{@@file},
+@code{@@command}, etc.). For example:
+@samp{@@code@{@@var@{foo@}@}},
+@samp{@@file@{@@var@{myfile.ly@}@}},
+@w{@samp{@@samp@{git checkout @@var@{branch@}@}}}, etc. This
+improves readability in the PDF and HTML output.
@item
@code{@@version@{@}} --- Return the current LilyPond version
but other than that all material goes into third-level sections
(i.e. 1.1.1 Writing Pitches).
+@item
+The @@knownissues should not discuss any issues that are in the
+tracker, unless the issue is Priority-Postponed. The goal is to
+discuss any overall architecture or syntax decisions which may be
+interpreted as bugs. Normal bugs should not be discussed here,
+because we have so many bugs that it would be a huge task to keep
+the @@knownissues current and accurate all the time.
+
@end itemize
or ask the lilypond-user mailing list.
@end example
+@item
+If the email mentions @qq{the latest git}, or any version number
+that has not yet been officially released, forward it to
+@code{lilypond-devel}.
+
@item
If a bug report is not in the form of a Tiny example, direct the
user to resubmit the report with this response:
@uref{http://lilypond.org/website/bug-reports.html}
@end example
-
@item
If anything is unclear, ask the user for more information.
@node Post patch for comments
@subsection Post patch for comments
-For any change other than a minor change, a patch set should be
-posted on @uref{http://codereview.appspot.com/, Rietveld} for comment.
-This requires the use of an external package, git-cl, and an email
-account on Google.
-
-git-cl is installed by:
-
-@example
-git clone git://neugierig.org/git-cl.git
-@end example
-
-Then, add the git-cl directory to your PATH, or create a
-symbolic link to the git-cl and upload.py in one of your
-PATH directories (like usr/bin). git-cl is then
-configured by entering the command
-
-@example
-git cl config
-@end example
-
-@noindent
-in the LilyPond git directory and answering the questions that
-are asked. If you do not understand the question answer with just
-a newline (CR).
-
-The patch set is posted to Rietveld as follows. Ensure your changes
-are committed in a separate branch, which should differ from the
-reference branch to be used by just the changes to be uploaded.
-If the reference branch is to be origin/master, ensure this is
-up-to-date. If necessary, use git rebase to rebase the branch
-containing the changes to the head of origin/master. Finally,
-check out branch with the changes and enter the command:
-
-@example
-git cl upload <reference SHA1 ID>
-@end example
-
-@noindent
-where <reference SHA1 ID> is the SHA1 ID of the commit to be used
-as a reference source for the patch. Generally, this will be the
-SHA1 ID of origin/master, and in that case the command
-
-@example
-git cl upload origin/master
-@end example
-
-@noindent
-can be used.
-
-After prompting for your Google email address and password, the
-patch set will be posted to Rietveld.
-
-You should then announce the patch by sending
-an email to lilypond-devel, with a subject line
-starting with PATCH:, asking for comments on the patch.
-Alternately, you may Publish + Mail a (bogus) comment, in order
-to send an email to lilypond-devel.
-
-As revisions are made in response to comments, successive patch sets
-for the same issue can be uploaded by reissuing the git-cl command
-with the modified branch checked out.
-
-Sometimes in response to comments on revisions, the best way to
-work may require creation of a new branch in git. In order to
-associate the new branch with an existing Rietveld issue,
-the following command can be used:
-
-@example
-git cl issue issue-number
-@end example
-
-@noindent
-where @code{issue-number} is the number of the existing Rietveld
-issue.
-
+See @ref{Uploading a patch for review}.
@node Push patch
lilypond.org's /doc/ dir. Keep all previous unstable->stable doc
symlinks.
+Also, make the old docs self-contained -- if there's a redirect in
+/doc/v2.12/Documentation/index.html , replace it with the
+index.html.old-2.12 files.
+
+The post-2.13 docs will need another way of handling the
+self-containment. It won't be hard to whip up a python script
+that changes the link to ../../../../manuals.html to
+../website/manuals.html , but it's still a 30-minute task that
+needs to be done before 2.16.
+
@item
doc auto redirects to v2.LATEST-STABLE
* Making commits::
* Commit messages::
* Making patches::
+* Uploading a patch for review::
@end menu
@node Making patches
@unnumberedsubsubsec Making patches
-
If you want to share your changes with other contributors and
developers, you need to generate @emph{patches} from your commits.
+We prefer it if you follow the instructions in
+@ref{Uploading a patch for review}. However, we present an
+alternate method here.
+
You should always run @command{git@tie{}pull@tie{}-r} (translators
should leave off the @code{-r}) before doing this to ensure that
your patches are as current as possible.
reviewed, the developers may push one or more of them to the main
repository or discuss them with you.
-@seealso
-If your patch includes a significant amount of code, you may want
-to see @ref{Adding or modifying features}, especially @emph{Post
-patch for comments}.
+@node Uploading a patch for review
+@unnumberedsubsubsec Uploading a patch for review
+
+Any non-trivial change should be uploaded to our @qq{Rietveld}
+code review website:
+
+@example
+@uref{http://codereview.appspot.com/}
+@end example
+
+@subsubheading Initial setup
+
+This requires the use of an external package, git-cl, and an email
+account on Google.
+
+@command{git-cl} is installed by:
+
+@example
+git clone git://neugierig.org/git-cl.git
+@end example
+
+Then, add the @file{git-cl} directory to your PATH, or create a
+symbolic link to the @command{git-cl} and @command{upload.py} in
+one of your PATH directories (like @file{usr/bin}). Then
+configure the program by running:
+
+@example
+git cl config
+@end example
+
+@noindent
+in the LilyPond git directory and answering the questions that
+are asked. If you do not understand the question answer with just
+a newline (CR).
+
+@subsubheading Uploading patch set
+
+There are two methods, depending on your git setup.
+
+@itemize
+@item
+@strong{Separate branch}:
+
+Ensure your changes are committed in a separate branch, which
+should differ from the reference branch to be used by just the
+changes to be uploaded. If the reference branch is to be
+origin/master, ensure this is up-to-date. If necessary, use git
+rebase to rebase the branch containing the changes to the head of
+origin/master. Finally, check out branch with the changes and
+enter the command:
+
+@example
+git cl upload <reference SHA1 ID>
+@end example
+
+@noindent
+where <reference SHA1 ID> is the SHA1 ID of the commit to be used
+as a reference source for the patch. Generally, this will be the
+SHA1 ID of origin/master, and in that case the command:
+
+@example
+git cl upload origin/master
+@end example
+
+@noindent
+can be used.
+
+@item
+@strong{Master branch}:
+
+If you added your patch to @code{master}, then make sure that you
+are up-to-date (by running @code{git pull -r}), and then run:
+
+@example
+git cl upload origin/master
+@end example
+
+If you have git push ability, make sure that you @emph{remove}
+your patch (with @command{git rebase} or @command{git reset})
+before pushing other stuff.
+
+@end itemize
+
+After prompting for your Google email address and password, the
+patch set will be posted to Rietveld.
+
+@subsubheading Announcing your patch set
+
+You should then announce the patch by sending an email to
+@code{lilypond-devel}, with a subject line starting with PATCH:,
+asking for comments on the patch. Alternately, you may Publish +
+Mail a (bogus) comment, in order to send an email to
+lilypond-devel.
+
+@subsubheading Revisions
+
+As revisions are made in response to comments, successive patch sets
+for the same issue can be uploaded by reissuing the git-cl command
+with the modified branch checked out.
+
+Sometimes in response to comments on revisions, the best way to
+work may require creation of a new branch in git. In order to
+associate the new branch with an existing Rietveld issue,
+the following command can be used:
+
+@example
+git cl issue issue-number
+@end example
+
+@noindent
+where @code{issue-number} is the number of the existing Rietveld
+issue.
+
+@subsubheading Resetting git cl
+
+If @command{git cl} becomes confused, you can @qq{reset} it by
+running:
+
+@example
+git cl issue 0
+@end example
@node Advanced Git procedures
@file{Documentation/@/web/@/ly-examples/} directories are
@strong{not} compiled. You need to upload them, and if they ever
change, a user in the @code{lilypond} group must upload them to
-@file{~graham/@/media} on the host.
+@file{~graham/@/lilypond@/media} on the host.
Upload latest pictures/ and ly-examples/ (local script):
EXAMPLES=$BUILD_DIR/Documentation/web/ly-examples/out-www/
cd $BUILD_DIR
-rsync -a $PICS graham@lilypond.org:media/pictures
-rsync -a $EXAMPLES graham@lilypond.org:ly-examples
+rsync -a $PICS graham@lilypond.org:lilypond/media/pictures
+rsync -a $EXAMPLES graham@lilypond.org:lilypond/media/ly-examples
@end verbatim
margin: 0;
}
+.contactBox {
+ float: left;
+ background: #eef;
+ text-align: left;
+ border: 1px solid green;
+ padding: 0;
+ margin: 1em;
+}
+
+.contactBox p {
+ padding: 0.5em;
+ margin: 0;
+}
+
+
.hide {
position: relative;
text-indent: -999em;
Wir empfehlen, dass neue Mithelfer, die Windows oder MacOS X benutzen,
@strong{keine} eigene Kompilierungsumgebung einrichtigen; anstelle
dessen siehe
-@rcontribnamed{Using a Virtual Machine to Compile LilyPond,Ein virtuelles Betriebssystem (VM) einsetzen um LilyPond zu kompilieren}.
+@rcontrib{Lilybuntu}.
@itemize
@item
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c:maj9 }
+\storePredefinedDiagram #default-fret-table \chordmode { c:maj9 }
#guitar-tuning
#"x;3-2;o;o;o;o;"
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c'' }
+\storePredefinedDiagram #default-fret-table \chordmode { c'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes guitar-tuning))
% add some new chords based on the power chord shape
-\storePredefinedDiagram \chordmode { f'' }
+\storePredefinedDiagram #default-fret-table \chordmode { f'' }
#guitar-tuning
#(chord-shape 'powerf guitar-tuning)
-\storePredefinedDiagram \chordmode { g'' }
+\storePredefinedDiagram #default-fret-table \chordmode { g'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'powerf guitar-tuning))
@lilypond[quote,ragged-right,verbatim]
-\storePredefinedDiagram <c e g c' e'>
+\storePredefinedDiagram #default-fret-table <c e g c' e'>
#guitar-tuning
#"x;3-1-(;5-2;5-3;5-4;3-1-1);"
<<
@end html
@end ifhtml
-@emph{Zuletzt aktualisiert am Mon May 31 11:22:22 UTC 2010
+@emph{Zuletzt aktualisiert am Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@ifhtml
@html
-<span style="background-color: #39ff22">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@ifhtml
@html
-<span style="background-color: #dbff38">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@ifhtml
@html
-<span style="background-color: #76fe2a">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@end multitable
@ifhtml
@html
-<span style="background-color: #33ff21">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@item
A Scheme-Übung
@*
-5006
+5007
@tab Till Paala
@tab
@tab
@item
1 Schnittstellen für Programmierer
@*
-3547
+3568
@tab Till Paala
@tab
@tab
Überschriften
@*
124
-@tab Till Rettig
+@tab Till Paala
@tab
@tab
@ifhtml
@ifhtml
@html
-<span style="background-color: #33ff21">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
LilyPond -- \TITLE\
@*
1107
-@tab Till Rettig
+@tab Till Paala
@tab
@tab
@ifhtml
@item
1 Übung
@*
-2504
+2535
@tab Till Paala
@*
Reinhold Kainhofer
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (80 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (80 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #e8fe39">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
2 Übliche Notation
@*
-4191
-@tab Till Rettig
+4182
+@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (94 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (94 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #68ff28">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
3 Grundbegriffe
@*
-10838
+11173
@tab Till Paala
@*
Reinhold Kainhofer
@ifhtml
@html
-<span style="background-color: #6fff29">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
4 Die Ausgabe verändern
@*
-15621
-@tab Till Rettig
+15650
+@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (98 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (98 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #47ff24">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
A Vorlagen
@*
-209
+225
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #25fe1f">teilweise</span>
+<span style="background-color: #2cff20">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #54ff26">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
1.1 Tonhöhen
@*
-3518
+3534
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #62ff28">teilweise</span>
+<span style="background-color: #2cff20">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
1.2 Rhythmus
@*
-4992
+5117
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #9eff30">teilweise</span>
+<span style="background-color: #33ff21">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
1.3 Ausdrucksbezeichnungen
@*
-1481
+1689
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #25fe1f">teilweise</span>
@end html
@end ifhtml
@ifnothtml
-ja
+teilweise
@end ifnothtml
@tab vor-GDP
@item
1.4 Wiederholungszeichen
@*
-774
+893
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #76fe2a">teilweise</span>
+<span style="background-color: #33ff21">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
1.5 Gleichzeitig erscheinende Noten
@*
-1639
+1948
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #47ff24">teilweise</span>
+<span style="background-color: #40fe23">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
1.6 Notation auf Systemen
@*
-1855
+2010
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #25fe1f">teilweise</span>
@end html
@end ifhtml
@ifnothtml
-ja
+teilweise
@end ifnothtml
@tab vor-GDP
@item
1.8 Text
@*
-2755
+2707
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #fcff3c">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@ifhtml
@html
-<span style="background-color: #fff53e">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
2.1 Notation von Gesang
@*
-2805
+4991
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #39ff22">teilweise</span>
+<span style="background-color: #fff53e">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #25fe1f">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
2.3 Bundlose Saiteninstrumente
@*
-255
+281
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #76fe2a">teilweise</span>
+<span style="background-color: #33ff21">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
2.4 Saiteninstrumente mit Bünden
@*
-2233
+2242
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #76fe2a">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@ifhtml
@html
-<span style="background-color: #47ff24">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
2.6 Blasinstrumente
@*
-136
+348
@tab Till Paala
@tab
@tab
@item
2.7 Notation von Akkorden
@*
-1521
+1854
@tab Till Paala
@tab
@tab
@end ifnothtml
@tab vor-GDP
@item
-2.8 Notation von alter Musik
+2.8 Zeitgenössische Musik
+@*
+473
+@tab Till Paala
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
+@end ifnothtml
+@tab vor-GDP
+@item
+2.9 Notation von alter Musik
@*
4479
@tab Till Paala
@ifhtml
@html
-<span style="background-color: #d587ff">K/A</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-K/A
+ja
@end ifnothtml
@tab vor-GDP
@item
-2.9 Weltmusik
+2.10 Weltmusik
@*
-1429
+1428
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (89 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (89 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #6fff29">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
3 Allgemeine Eingabe und Ausgabe
@*
-6416
+6856
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #40fe23">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
4 Abstände
@*
-9258
+9277
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #91ff2e">teilweise</span>
+<span style="background-color: #47ff24">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
5 Standardeinstellungen verändern
@*
-11815
+11836
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (97 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (97 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #d587ff">K/A</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-K/A
+ja
@end ifnothtml
@tab vor-GDP
@item
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (98 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (98 %)
+ja
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #9eff30">teilweise</span>
+<span style="background-color: #25fe1f">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #ff6f57">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
@item
1 @command{lilypond} starten
@*
-3373
+3629
@tab Reinhold Kainhofer
@*
Till Paala
+@tab Till Paala
@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
+@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">teilweise (66 %)</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise (66 %)
+ja
@end ifnothtml
+@tab vor-GDP
+@item
+2 Dateien mit @command{convert-ly} aktualisieren
+@*
+1189
+@tab Till Paala
+@tab
@tab
@ifhtml
@html
-<span style="background-color: #ff6b58">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
@end ifnothtml
@tab vor-GDP
@item
-2 @command{lilypond-book}: Noten in den Text integrieren
+3 @command{lilypond-book} aufrufen
@*
-3439
+3747
@tab Reinhold Kainhofer
@tab Till Paala
@tab
@ifhtml
@html
-<span style="background-color: #ff6b58">teilweise</span>
+<span style="background-color: #39ff22">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@end ifnothtml
@tab vor-GDP
@item
-3 Vorschläge, wie man Dateien schreibt
+4 Externe Programme
+@*
+2176
+@tab Till Paala
+@*
+Reinhold Kainhofer
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">ja</span>
+@end html
+@end ifhtml
+@ifnothtml
+ja
+@end ifnothtml
+@tab vor-GDP
+@item
+5 Vorschläge zum Schreiben von LilyPond-Eingabe-Dateien
@*
2694
@tab Till Paala
@ifhtml
@html
-<span style="background-color: #d0f0f8">nein</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-nein
+ja
@end ifnothtml
@tab
@ifhtml
@item
Überschriften
@*
-510
+579
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #83fe2c">teilweise</span>
+<span style="background-color: #33ff21">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
Einleitung
@*
-4289
+4498
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #d4ff37">teilweise</span>
+<span style="background-color: #39ff22">teilweise</span>
@end html
@end ifhtml
@ifnothtml
@item
Download
@*
-1173
+1169
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #40fe23">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
Handbücher
@*
-1198
+1200
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #4efe25">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@item
Gemeinschaft
@*
-1670
+1679
@tab Till Paala
@tab
@tab
@ifhtml
@html
-<span style="background-color: #acff31">teilweise</span>
+<span style="background-color: #1fff1f">ja</span>
@end html
@end ifhtml
@ifnothtml
-teilweise
+ja
@end ifnothtml
@tab vor-GDP
@end multitable
\input texinfo @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: c89a1808d10c9a5e60c74e20668e136623db12f2
+ Translation of GIT committish: d9d72186ca281ea763cb2d50446a113ab0a26779
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@end ignore
+@item
+Ahora el usuario puede especificar el nombre de la tabla
+predeterminada de diagramas de posiciones de acordes. Esto permite la
+utilización de varias tablas y el cambio de una a otra en función de
+los deseos del usuario.
+
+@item
+Ahora se puede personalizar la decisión del combinador de voces de combinar o no las notas.
+@lilypond[quote,relative=2]
+\partcombine
+\relative c' { c2 \partcombineApart c | \partcombineChordsOnce e' e }
+\relative c' { c2 \partcombineApart c | c c }
+@end lilypond
+
+@item
+De forma predeterminada, las pautas de tablatura sólo muestran los
+números de traste. Para conseguir el estilo anterior, se ofrece la
+instrucción @code{\tabFullNotation}.
+
@item
Se han añadido notas con forma en los estilos Funk y Walker.
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of extending.tely
@ignore
- Translation of GIT committish: ca3b3c23ad44cb6b035c0dccf272cecf789d1029
+ Translation of GIT committish: 87a9977bbd54e3822338e290716845d8e2e304e3
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
dentro de la expresión musical que se devuelve.
Algunas instrucciones @code{\override} requieren un argumento que
-consiste en una pareja de números (llamada una @code{célula cons} en
+consiste en una pareja de números (llamada una @emph{célula cons} en
Scheme).
La pareja se puede pasar directamente dentro de la función musical,
Los argumentos son
-@table @var
-@item nombre-de-la-instruccion
+@table @code
+@item @var{nombre-de-la-instruccion}
nombre de la instrucción de marcado
@item layout
la definición de @q{layout} (disposición).
@item props
una lista de listas asociativas, que contienen todas las propiedades
activas.
-@item argi
+@item @var{argi}
argumento @var{i}-ésimo de la instrucción
-@item tipo-de-argi?
+@item @var{tipo-de-argi?}
predicado de tipo para el argumento @var{i}-ésimo
@end table
-Si la instrucción utiliza propiedades de los argumentos @var{props},
+Si la instrucción utiliza propiedades de los argumentos @code{props},
se puede usar la palabra clave @code{#:properties} para especificar
qué propiedades se usan, así como sus valores predeterminados.
@end itemize
No existe ninguna limitación en el orden de los argumentos (después de
-los argumentos estándar @var{layout} y @var{props}). Sin embargo, las
+los argumentos estándar @code{layout} y @code{props}). Sin embargo, las
funciones de marcado que toman un elemento de marcado como su último
argumento son un poco especiales porque podemos aplicarlas a una lista
de marcados y el resultado es una lista de marcados donde la función
\applyContext @var{función}
@end example
-@var{función} debe ser una función de Scheme que toma un único
+@code{@var{función}} debe ser una función de Scheme que toma un único
argumento, que es el contexto al que aplicarla. El código siguiente
imprime el número del compás actual sobre la salida estándar durante
la compilación:
La manera más versátil de realizar el ajuste fino de un objeto es
-@code{\applyOutput}. Su sintaxis es
+@code{\applyOutput}, que
+funciona insertando un evento dentro del contexto especificado
+(@rinternals{ApplyOutputEvent}). Su sintaxis es
@example
\applyOutput @var{contexto} @var{proc}
@end example
@noindent
-donde @var{proc} es una función de Scheme, que toma tres argumentos.
+donde @code{@var{proc}} es una función de Scheme que toma tres argumentos.
-Al interpretarse, la función @var{proc} se llama para cada objeto de
-presentación que se encuentra en el contexto @var{contexto}, con los
-siguientes argumentos:
+Al interpretarse, la función @code{@var{proc}} se llama para cada objeto de
+presentación que se encuentra en el contexto @code{@var{contexto}}
+en el tiempo actual, con los siguientes argumentos:
@itemize
@item el propio objeto de presentación,
expresión musical que es responsable de haberlo creado, está en la
propiedad @code{cause} del objeto. Por ejemplo, para la cabeza de una
nota, éste es un evento @rinternals{NoteHead}, y para un objeto
-@rinternals{Stem} (plica), éste es un objeto @rinternals{Stem}.
-@c Impossible - changed to Stem --FV
+plica, éste es un objeto @rinternals{Stem}.
He aquí una función que usar para @code{\applyOutput}; borra las
-cabezas de las notas que están sobre la línea central:
+cabezas de las notas que están sobre la línea central y junto a ella:
@lilypond[quote,verbatim,ragged-right]
#(define (blanker grob grob-origin context)
(if (and (memq 'note-head-interface (ly:grob-interfaces grob))
- (eq? (ly:grob-property grob 'staff-position) 0))
+ (< (abs (ly:grob-property grob 'staff-position)) 2))
(set! (ly:grob-property grob 'transparent) #t)))
\relative c' {
- e4 g8 \applyOutput #'Voice #blanker b d2
+ a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
}
@end lilypond
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
-Translation of GIT committish: 0f160f02f8fcf7859e18ab1ea0be1e3d69953879
+Translation of GIT committish: af3c4ca42e348ec53b5034c50f3eeb435f7db05e
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@cindex polimétricas, partituras
@cindex compases distintos al mismo tiempo
-@lilypond[quote,relative=1,ragged-right,verbatim,fragment]
-\new Score \with {
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
-} <<
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff \with {
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
+ } {
+ \time 3/4
+ c4 c c c c c
+ }
\new Staff \with {
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
} {
- \time 3/4
+ \time 2/4
c4 c c c c c
}
- \new Staff \with {
- \consists "Timing_translator"
- \consists "Default_bar_line_engraver"
- } {
- \time 2/4
- c4 c c c c c
- }
>>
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ }
+}
@end lilypond
@knownissues
especifican por las sub-listas @code{left-broken} y
@code{right-broken} de @code{bound-details}. Por ejemplo:
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
\override Glissando #'breakable = ##t
\override Glissando #'(bound-details right-broken Y) = #-3
c1 \glissando \break
@code{stencil-align-dir-y} o @code{stencil-offset} se moverá el
símbolo del borde verticalmente con relación al extremo de la línea:
-@lilypond[relative=1,fragment,verbatim]
+@lilypond[relative=1,quote,verbatim]
\override TextSpanner
#'(bound-details left stencil-align-dir-y) = #-2
\override TextSpanner
He aquí un ejemplo de los distintos estilos de línea disponibles, y
cómo aplicarles ajustes finos.
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
d2 \glissando d'2
\once \override Glissando #'style = #'dashed-line
d,2 \glissando d'2
computan al vuelo para cada uno de los objetos gráficos, pero es
posible sobreescribirlos:
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
e2 \glissando f
\once \override Glissando #'(bound-details right Y) = #-2
e2 \glissando f
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 0f160f02f8fcf7859e18ab1ea0be1e3d69953879
+ Translation of GIT committish: 6e36ca8cc133568378f03e519d2d44a3eeb6abf8
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
g1
c1
}
- \new Score \chordmode {
+ \chordmode {
c1
r1
g1
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is included from notation.itely
@ignore
- Translation of GIT committish: fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@funindex finger
Las instrucciones de digitación se pueden introducir usando
-@var{nota}-@var{dígito}:
+@samp{@var{nota}-@var{dígito}}:
@lilypond[verbatim,quote,relative=2]
c4-1 d-2 f-4 e-3
e
@end lilypond
+
Se puede acceder al espectro completo de colores definido para X11
usando la función de Scheme x11-color. Esta función acepta un único
-argumento; éste puede ser un símbolo de la forma @var{'FulanoMengano}
-o una cadena de la forma @var{"FulanoMengano"}. La primera forma es
+argumento; éste puede ser un símbolo de la forma @code{@var{'FulanoMengano}}
+o una cadena de la forma @code{"@var{FulanoMengano}"}. La primera forma es
más rápida de escribir y también más eficiente. Sin embargo, al usar
la segunda forma es posible acceder a los colores de X11 por medio de
la forma del nombre que tiene varias palabras.
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 15578ad21fa9939acf92026c9fdbe7609a635777
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@var{nota}\@var{nombre}
@end example
-La lista de los posibles valores de @var{nombre} está en @ref{Lista de articulaciones}. Por ejemplo:
+La lista de los posibles valores de @code{@var{nombre}} está en
+@ref{Lista de articulaciones}. Por ejemplo:
@lilypond[verbatim,quote,relative=2]
c4\staccato c\mordent b2\turn
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf
+ Translation of GIT committish: a90b4f6c28f125d797df443241501a679c900424
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c:maj9 }
+\storePredefinedDiagram #default-fret-table \chordmode { c:maj9 }
#guitar-tuning
#"x;3-2;o;o;o;o;"
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c'' }
+\storePredefinedDiagram #default-fret-table \chordmode { c'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes guitar-tuning))
% add some new chords based on the power chord shape
-\storePredefinedDiagram \chordmode { f'' }
+\storePredefinedDiagram #default-fret-table \chordmode { f'' }
#guitar-tuning
#(chord-shape 'powerf guitar-tuning)
-\storePredefinedDiagram \chordmode { g'' }
+\storePredefinedDiagram #default-fret-table \chordmode { g'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'powerf guitar-tuning))
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chordchanges-for-fretboards.ly}
+
@seealso
Referencia de la notación:
@ref{Tablaturas personalizadas},
@lilypond[quote,ragged-right,verbatim]
-\storePredefinedDiagram <c e g c' e'>
+\storePredefinedDiagram #default-fret-table <c e g c' e'>
#guitar-tuning
#"x;3-1-(;5-2;5-3;5-4;3-1-1);"
<<
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 9e680d0204bbb4fde75212bb8152ab8626caf5b1
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
En el modo relativo, se supone que cada nota se encuentra lo más cerca
posible de la nota anterior. Esto significa que la octava de una nota
-que está dentro de @var{expresión_musical} se calcula como sigue:
+que está dentro de @code{@var{expresión_musical}} se calcula como sigue:
@itemize
@item
@item
La altura de la primera nota es relativa a
-@code{@var{altura_inicial}}. @var{altura_inicial} se especifica en
+@code{@var{altura_inicial}}. @code{@var{altura_inicial}} se especifica en
modo de octava absoluta, y se recomienda que sea un Do (una octava de
@code{c}).
}
@end lilypond
+
@seealso
Glosario musical:
@rglos{fifth},
@funindex \relative
@funindex relative
+
@c DEPRECATED
-Si no se especifica ninguna @var{altura_inicial} para
+Si no se especifica ninguna @code{@var{altura_inicial}} para
@code{\relative}, entonces se supone que es@tie{}@code{c'}. Sin
embargo, ésta es una opción en desuso y podría desaparecer en
versiones posteriores, por lo que su utilización está desaconsejada.
@end lilypond
La octava de las notas se puede comprobar también con la instrucción
-@code{\octaveCheck}@tie{}@var{altura_de_control}.
-@var{altura_de_control} se especifica en modo absoluto. Esto
+@code{\octaveCheck@tie{}@var{altura_de_control}}.
+@code{@var{altura_de_control}} se especifica en modo absoluto. Esto
comprueba que el intervalo entre la nota anterior y la
-@var{altura_de_control} se encuentra dentro de una cuarta (es decir, el
+@code{@var{altura_de_control}} se encuentra dentro de una cuarta (es decir, el
cálculo normal para el modo relativo). Si esta comprobación fracasa,
se imprime un mensaje de advertencia, pero la nota previa no se
modifica. Las notas posteriores están en relación a la
-@var{altura_de_control}.
+@code{@var{altura_de_control}}.
@lilypond[verbatim,quote]
\relative c'' {
\transpose @var{nota_origen} @var{nota_destino} @var{expresión_musical}
@end example
-Esto significa que la @var{expresión_musical} se transporta el
-intervalo que hay entre las notas @var{nota_origen} y
-@var{nota_destino}: cualquier nota con la altura de @code{nota_origen}
-se cambia por @code{nota_destino} y cualquier otra nota se transporta
+Esto significa que la @code{@var{expresión_musical}} se transporta el
+intervalo que hay entre las notas @code{@var{nota_origen}} y
+@code{@var{nota_destino}}: cualquier nota con la altura de @code{@var{nota_origen}}
+se cambia por @code{@var{nota_destino}} y cualquier otra nota se transporta
el mismo intervalo. Las dos notas se introducen en modo absoluto.
@warning{La música que está dentro de un bloque @code{@bs{}transpose}
armadura se hace con la instrucción @code{\key}:
@example
-\key @var{nota} @var{tipo}
+\key @var{nota} @var{modo}
@end example
@funindex \major
@cindex dórico, modo
@noindent
-Aquí, @var{tipo} debe ser @code{\major} o @code{\minor} para obtener
-la tonalidad @var{nota} mayor o @var{nota} menor, respectivamente.
+Aquí, @code{@var{modo}} debe ser @code{\major} o @code{\minor} para obtener
+la tonalidad @code{@var{nota}} mayor o @code{@var{nota}} menor, respectivamente.
También puede usar los nombres estándar de modo (también conocidos
como @notation{modos eclesiásticos}): @code{\ionian} (jónico),
@code{\dorian} (dórico), @code{\phrygian} (frigio), @code{\lydian}
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@item unfold (desplegada)
Las música repetida se escribe y se interpreta completamente tantas
-veces como especifique el valor @var{número_de_repeticiones}. Es útil
+veces como especifique el valor @code{@var{número_de_repeticiones}}. Es útil
cuando se está escribiendo música repetitiva.
@item percent (porcentaje)
@end example
@noindent
-donde @var{expresión_musical} es una expresión musical.
+donde @code{@var{expresión_musical}} es una expresión musical.
Una repetición simple sin finales alternativos:
@end example
@noindent
-donde @var{expresión_musical} es una expresión musical.
+donde @code{@var{expresión_musical}} es una expresión musical.
Si existen más repeticiones que finales alternativos,
se asigna el primer final alternativo
@end example
@noindent
-donde @var{expresión_musical} es una expresión musical y
-@var{número_de_repeticiones} es el número de veces que
-@var{expresión_musical} se repite.
+donde @code{@var{expresión_musical}} es una expresión musical y
+@code{@var{número_de_repeticiones}} es el número de veces que
+@code{@var{expresión_musical}} se repite.
@lilypond[verbatim,quote,relative=2]
\repeat unfold 2 { c4 d e f }
se sustituyen por símbolos de tipo porcentaje. La sintaxis es:
@example
-@code{\repeat percent @var{número} @var{expresión_musical}}
+\repeat percent @var{número} @var{expresión_musical}
@end example
@noindent
-donde @var{expresión_musical} es una expresión musical.
+donde @code{@var{expresión_musical}} es una expresión musical.
Patterns that are shorter than one measure are replaced by slashes.
@funindex :
El mismo resultado se puede obtener escribiendo
-@q{@code{:}[@var{número}]} después de la nota. El número indica la
-duración de la subdivisión, y debe ser 8 como mínimo. Un valor de 8
-para @var{número} produce una línea que atraviesa la plica de la nota.
-Si se omite la longitud, se utiliza el último valor (almacenado en
+@code{:@var{N}} después de la nota, donde @code{@var{N}} indica la
+duración de la subdivisión (debe ser 8 como mínimo). Si @code{@var{N}}
+es 8, se añade una barra de corchea a la plica de la nota.
+Si @code{@var{N}} se omite, se utiliza el último valor (almacenado en
@code{tremoloFlags}):
@lilypond[quote,verbatim,relative=2]
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 8d0379b60d9e6bf497a45a6b03ae1937acd32adc
+ Translation of GIT committish: df359b39d28604e7060c54be8caaba0e45d1b94e
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@end example
@noindent
-La duración de @var{música} se multiplicará por la
+La duración de @code{@var{música}} se multiplicará por la
fracción. El denominador de la fracción se imprimirá sobre las notas,
opcionalmente con un corchete. El grupo especial más común es el
tresillo, en el que 3 notas tienen el valor de 2, por tanto las notas
y en el modo de acordes. En otras situaciones, por ejemplo, cuando se
introduce la letra, se usa la instrucción @code{\skip} para producir
un desplazamiento de una cierta magnitud temporal. @code{\skip}
-requiere una duración explícita.
+requiere una duración explícita, pero se ignora si las sílabes de la
+letra toman sus duraciones de las notas de una melodía asociada, a
+través de @code{\addlyrics} o de @code{\lyricsto}.
@lilypond[quote,verbatim,relative=2]
<<
@funindex \textLengthOn
@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLenthOff
+@funindex textLengthOff
@funindex \fermataMarkup
@funindex fermataMarkup
@funindex \compressFullBarRests
@menu
* Indicación de compás::
+* Indicaciones metronómicas::
* Anacrusas::
* Música sin compasear::
* Notación polimétrica::
Las indicaciones de compás de la música mensural se tratan en
@ref{Indicaciones de compás de la música mensural}.
+@cindex compás, indicación de, ajustes predeterminados
+@cindex autobarrado, propiedades para indicaciones de compás
+@cindex barrado, propiedades predefinidas para el compás
+@funindex \overrideTimeSignatureSettings
+
+Además de ajustar la indicación de compás que se imprime, la
+instrucción @code{\time} establece también los valores predeterminados
+basados en el tipo de compás para las propiedades @code{baseMoment},
+@code{beatStructure} y @code{beamExceptions}. Los valores
+predefinidos de estas propiedades están en
+@file{scm/time-signature-settings.scm}. Los valores predefinidos
+existentes se pueden cambiar, o pueden añadirse valores nuevos:
+
+@lilypond[quote,verbatim]
+\score {
+ \relative c' {
+ \overrideTimeSignatureSettings
+ #'Score % context
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 c8 |
+ }
+}
+@end lilypond
+
+@code{\overrideTimeSignatureSettings} toma cinco argumentos:
+
+@enumerate
+@item
+@code{@var{context}}, un símbolo de Scheme que describe el contexto al
+que se aplica el valor predeterminado.
+
+@item
+@code{@var{timeSignatureFraction}}, una pareja de Scheme que describe
+el tipo de compás.
+
+@item
+@code{@var{baseMomentFraction}}, una pareja de Scheme que contiene el
+numerador y denominador de la unidad de medida básica de ese tipo de
+compás.
+
+@item
+@code{@var{beatStructure}}, una lista de Scheme que indica la
+estructura de los pulsos del compás, en unidades del momento base.
+
+@item
+@code{@var{beamExceptions}}, una lista-A que contiene cualesquiera
+reglas de barrado para el tipo de compás que vayan más allá de
+terminar en cada pulso, como se describe en @ref{Establecer el
+comportamiento de las barras automáticas}.
+@end enumerate
+
+@cindex compás, propiedades, restaurar los valores predeterminados
+@cindex restaurar las propiedades predeterminadas del tipo de compás
+@funindex \revertTimeSignatureSettings
+
+Los valores modificados de las propiedades predeterminadas del tipo de
+compás se pueden restaurar a los valores originales:
+
+@lilypond[quote,verbatim]
+\score{
+ \relative c' {
+ \repeat unfold 8 c8 |
+ \overrideTimeSignatureSettings
+ #'Score % context
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'((end . (((1 . 8) . (3 1))))) % beamExceptions
+ \time 4/4
+ \repeat unfold 8 c8 |
+ \revertTimeSignatureSettings #'Score #'(4 . 4)
+ \time 4/4
+ \repeat unfold 8 c8 |
+ }
+}
+@end lilypond
@predefined
@code{\numericTimeSignature},
@rinternals{Timing_translator}.
+@node Indicaciones metronómicas
+@unnumberedsubsubsec Indicaciones metronómicas
+@translationof Metronome marks
+
+@cindex tempo
+@cindex pulsos por minuto
+@cindex metrónomo, indicación de
+@cindex metrónomo, indicación de, con texto
+
+@funindex \tempo
+@funindex tempo
+
+Es muy sencillo escribir una indicación metronómica básica:
+
+@lilypond[verbatim,quote,relative=1]
+\tempo 4 = 120
+c2 d
+e4. d8 c2
+@end lilypond
+
+Se pueden usar indicaciones de tempo con texto:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegretto"
+c4 e d c
+b4. a16 b c4 r4
+@end lilypond
+
+La combinación de una indicación metronómica y un texto hace que la
+marca de metrónomo se encierre entre paréntesis automáticamente:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegro" 4 = 160
+g4 c d e
+d4 b g2
+@end lilypond
+
+En general, el texto puede ser cualquier objeto de marcado:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo \markup { \italic Faster } 4 = 132
+a8-. r8 b-. r gis-. r a-. r
+@end lilypond
+
+Se puede escribir una indicación metronómica entre paréntesis sin
+ninguna indicación textual, escribiendo una cadena vacía en la
+entrada:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "" 8 = 96
+d4 g e c
+@end lilypond
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
+
+@c perhaps also an example of how to move it horizontally?
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-tempo-without-a-metronome-mark.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{creating-metronome-marks-in-markup-mode.ly}
+
+Para ver más detalles, consulte @ref{Formatear el texto}.
+
+
+@seealso
+Glosario musical:
+@rglos{metronome},
+@rglos{metronomic indication},
+@rglos{tempo indication},
+@rglos{metronome mark}.
+
+Referencia de la notación:
+@ref{Formatear el texto},
+@ref{Salida MIDI}.
+
+Fragmentos de código:
+@rlsr{Staff notation}.
+
+Referencia de funcionamiento interno::
+@rinternals{MetronomeMark}.
+
+
@node Anacrusas
@unnumberedsubsubsec Anacrusas
@translationof Upbeats
@end example
@noindent
-donde @code{duración} es el valor rítmico restante del compás actual
+donde @code{@var{duración}} es el valor rítmico restante del compás actual
antes de que comience el siguiente.
@lilypond[quote,verbatim,relative=2]
compás automáticos, utilice la instrucción @code{\cadenzaOn}, y para
activarlos de nuevo use @code{\cadenzaOff}.
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
La numeración de compases se continúa al final de la cadencia como si
la cadencia no existiera:
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
pieza con @code{\cadenzaOn}, pues en caso contrario pueden
ocurrir algunos errores extraños.
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
\new Voice \relative c'{
\cadenzaOn
c16^"Solo Free Time" d e f g2. \bar "||"
entonces se debe desactivar el barrado automático con
@code{\autoBeamOff} e indicar las barras manualmente.}
+@warning{La utilización de @code{@bs{}partcombine} con
+@code{@bs{}autoBeamOff} puede producir resultados no deseados. Véase
+el fragmento de código de abajo para mayor información.}
+
Se pueden crear patrones de barrado que difieran de los valores
automáticos predeterminados; véase @ref{Establecer el comportamiento de las barras automáticas}.
+
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
+@cindex \partcombine y \autoBeamOff
+@cindex \autoBeamOff y \partcombine
+
+
+@lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
+{partcombine-and-autobeamoff.ly}
+
@seealso
Referencia de la notación:
@cindex letra y barrado
@funindex autoBeaming
-@funindex beamExceptions
@funindex baseMoment
+@funindex beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
@funindex set
La colocación de las barras de corchea automáticas viene
-determinada por la indicación de compás. Se usan tres tipos de
-reglas para la determinación del final de las barras de corchea
-automáticas: reglas @emph{predeterminadas} para el tipo de
-compás, reglas @emph{explícitas} para la barra dentro del tipo de
-compás, y la @emph{beatLength} (longitud de la barra) para el
-tipo de compás.
+determinada por las propiedades de contexto
+@code{baseMoment}, @code{beatStructure}, @code{beamExceptions}
+y @code{autoBeaming}.
Se aplican las siguientes reglas, en orden de prioridad, para
determinara el aspecto de las barras:
si está en vigor @code{\autoBeamOff} no poner barras; en caso contrario:
@item
-si está definida alguna regla de fin de barra para el tipo de barra en
-este tipo de compás, usarla para determinar los lugares válidos en que
-las barras pueden terminar; en caso contrario
+si está definida alguna regla de fin de barra en
+@code{beamExceptions} para este tipo de barra,
+usarla para determinar los lugares válidos
+en que las barras pueden terminar; en caso
+contrario
@item
-si está definida alguna una regla predeterminada de fin de barra en
-este tipo de compás, usarla para agrupar las notas con barras; en caso
+si está definida alguna regla de fin de barra en
+@code{beamExceptions} para un tipo de barra más largo,
+usarla para determinar los lugares válidos
+en que las barras pueden terminar; en caso
contrario
@item
-usar el valor de @code{beatLength} para agrupar las notas con barras.
-
+usar los valores de @code{baseMoment} y de @code{beatStructure} para
+determinar los finales de los pulsos en el compás, y finalizar las
+barras en los finales de los pulsos.
@end itemize
-@i{@strong{Modificar las agrupaciones de pulsos}}
-
-De forma predeterminada, @code{beatLength} se deriva del tipo de
-compás establecido por la instrucción @code{\time}. La longitud del
-pulso @code{beatLength} se establece a uno sobre el denominador del
-compás.
+El tipo de barra es la duración de la figura más breve dentro del
+grupo agrupado por la barra.
-@code{beatLength} es un @i{momento}, una unidad de duración musical.
-Las cantidades del tipo @i{moment} se crean por la función de Scheme
-@code{ly:make-moment}. Para ver más información sobre esta función,
-consulte @ref{Gestión del tiempo}.
-
-Los ajustes de barrado automático se
-almacenan en la propiedad @code{beamSettings}. Los valores
-predeterminados de @code{beamSettings} están precisados en
-@file{scm/@/beam@/-settings@/.scm}. Las entradas de
-@code{beamSettings} están clasificadas por tipo de compás y tipo de regla.
+@i{@strong{Modificar las agrupaciones de pulsos}}
-EL tipo de compás debe ser una dupla de Scheme, p.ej. @code{#'(4 . 4)}.
+El valor predeterminado de @code{baseMoment} está establecido por la
+instrucción @code{\time}, normalmente a uno más que el denominador del
+tipo de compás. Cualquier excepción a este valor predeterminado podrá
+encontrarse en @file{scm/@/time@/-signature@/-settings@/.scm}. La
+manera de modificar el valor predeterminado de @code{baseMoment} para
+un tipo de compás dado se describe en @ref{Indicación de compás}.
+
+@code{baseMoment} es un @i{momento}, una unidad de duración musical.
+Se crea una cantidad del tipo @i{momento} por medio de la función de
+Scheme @code{ly:make-moment}. Para ver más información acerca de esta
+función, consulte @ref{Gestión del tiempo}.
+
+Los ajustes de autobarrado especiales (es decir, los que no se
+refieren al final de un pulso) están al macenados dentro de la
+propiedad @code{beamExceptions}. Los valores predeterminados de
+@code{beamExceptions} se establecen por medio de la instrucción
+@code{\time}. Los valores predeterminados de @code{beamExceptions}
+para un tipo de compás están determinados en
+@file{scm/@/time@/-signature@/-settings@/.scm}. Las entradas de
+@code{beamExceptions} están ordenadas por tipo de regla y por tipo de
+barra.
El tipo de regla debe ser @code{#'end} para finales de barra.
@end example
El tipo de barra es una dupla de Scheme que indica la duración de la
-barra, p.e.j. @code{(1 . 16)}, ó @code{*} para indicar una regla por
-omisión, que se aplica a todas las barras si no hay definida ninguna
-regla explícita.
+barra, p.e.j. @code{(1 . 16)}.
La agrupación es una lista de Scheme que indica la agrupación que se
-aplica a la barra. Para las reglas por omisión, aquellas en las que
-el tipo de barra es @code{*}, la agrupación está en unidades de
-longitud de pulso, @code{beatLength}. Para las reglas explícitas, la
-agrupación está en unidades del tipo de barra.
+aplica a la barra. La agrupación está en unidades del tipo de barra.
Como referencia pueden consultarse las reglas de barrado por omisión
-que están en @file{scm/beam-settings.scm}.
+que están en @file{scm/time-signature-settings.scm}.
-Los ajustes para las barras se cambian con
-@code{\overrideBeamSettings} y @code{\revertBeamSettings}.
+Se pueden definir valores alternativos para
+@code{beamExceptions} usando la instrucción
+@code{\set}.
-@warning{ Los ajustes de final y subdivisión deben ser reglas
-@emph{completas}. Esto es, toda regla que se aplicaría al tipo de
-compás actual debe incluirse en los ajustes. No es posible cambiar la
-agrupación de sólo el tipo de barra para un tipo de compás dado.
-Aunque puede parecer muy engorroso, significa que los ajustes de
-barrado actuales no necesitan ser conocidos para poder especificar un
-nuevo patrón de barrado.}
+warning{Un valor de @code{beamExceptions} debe ser una lista de
+excepciones @emph{completa}. Esto es, toda excepción que debe ser
+aplicada tendrá que estar incluida en el ajuste. No es posible
+añadir, suprimir o cambiar una sola excepción. Aunque esto puede
+parecer engorroso, significa que los ajustes de barrado en curso no
+han de ser necesariamente conocidos para pode especificar un patrón de
+barrado nuevo.}
@lilypond[quote,relative=2,verbatim]
\time 5/16
a8 a a a a a a
}
}
- \new Voice = two {
+ \new Voice = two {
\relative c' {
\voiceTwo
\set Voice.beatStructure = #'(1 3 3)
<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
@end lilypond
-@funindex revertBeamSettings
-
Los ajustes de barrado se pueden revertir para volver al
-comportamiento predeterminado. Esto se consigue mediante la
-utilización de @code{\revertBeamSettings}. Los argumentos son los
-mismos que para @code{\overrideBeamSettings}, excepto que no se da
-ningún valor para @var{agrupación}:
-
-@example
-\revertBeamSettings contexto tipo-de-compás tipo-de-regla
-@end example
-
+comportamiento predeterminado. Esto se consigue mediante el
+ajuste de la indicación de compás.
@lilypond[quote,verbatim,relative=2]
\time 4/4
\repeat unfold 8 {a8}
-% set beaming rule for ending all beams at (1 . 4)
+% eliminate beam exception that groups beats 1, 2 and 3, 4
\set Timing.beamExceptions = #'()
\repeat unfold 8 {a8}
-% go back to default beahavior
+% go back to default behavior
\time 4/4
\repeat unfold 8 {a8}
@end lilypond
-@predefined
-@code{\overrideBeamSettings},
-@code{\revertBeamSettings}.
-@endpredefined
-
@snippets
@funindex bar
@funindex bartype
-La instrucción @code{\bar }@var{tipo_de_barra} es una forma corta de
-hacer @code{\set Timing.whichBar = }@var{tipo_de_barra}. Cuando
+La instrucción @samp{\bar @var{tipo de barra}} es una forma corta de
+hacer @samp{\set Timing.whichBar = @var{tipo de barra}}. Cuando
@code{whichBar} se establece con el valor de una cadena, se crea una
línea divisoria de ese tipo.
El tipo de barra predeterminado que se usa para las líneas divisorias
insertadas automáticamente es @code{"|"}. Se puede cambiar en
-cualquier momento con @code{\set Timing.defaultBarType = }@var{bartype}.
+cualquier momento con
+@samp{\set Timing.defaultBarType = @var{tipo de barra}}.
@seealso
@funindex \grace
@funindex grace
-Los mordentes y notas de adorno son ornamentos escritos. Se imprimen
-en un tipo más pequeño y no ocupan ningún tiempo lógico en el
-compás.
+Los mordentes y notas de adorno son ornamentos escritos.
+Se imprimen en un tipo más pequeño y no ocupan ningún
+tiempo lógico en el compás.
@lilypond[quote,relative=2,verbatim]
c4 \grace c16 c4
@end lilypond
El espacio entre la nota principal y la de adorno también se puede
-especificar usando espaciadores. El ejemplo siguiente sitúa la nota de
-adorno después de un espacio que dura 7/8 de la nota principal.
+especificar usando espaciadores. El ejemplo siguiente sitúa
+la nota de adorno después de un espacio que dura 7/8 de la
+nota principal.
@lilypond[quote,verbatim,relative=2]
\new Voice {
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 95a39ac24c8d92ea0355615197812531961ef1f3
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@cindex acordes
@cindex paréntesis en ángulo
-@cindex ángulo, paréntesis en
-@cindex relativa, altura en acordes
@funindex <
@funindex >
@funindex <...>
Un acorde se forma encerrando un conjunto de notas entre @code{<} y
-@code{>}. Un acorde puede ir seguido de una duración o un conjunto de
-articulaciones, como si fueran simples notas.
+@code{>}. Un acorde puede ir seguido de una duración,
+como si fueran simples notas.
-@lilypond[verbatim,quote,relative=1]
-<c e g>2 <c f a>4-> <e g c>-.
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
@end lilypond
+Los acordes también pueden ir seguidos de articulaciones, de nuevo como
+si fueran simples notas.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
+@end lilypond
+
+Las notas dentro del propio acorde también pueden ir seguidas
+de articulaciones y ornamentos.
+
+@lilypond[verbatim,quote,relative=2]
+<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
+@end lilypond
+
+Sin embargo, algunos elementos de notación tales como las
+expresiones de matices dinámicos, los reguladores y las
+ligaduras de espresión, se deben unir al acorde y no a las notas que integran
+el mismo, pues en caso contrario no se imprimirán.
+
+@lilypond[verbatim,quote,relative=2]
+<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
+@end lilypond
+
+@cindex relativo, acordes en altura
+@cindex acordes y altura relativa
+
Se puede usar el modo relativo para la altura de las notas de los
-acordes. La octava de cada nota se determina utilizando como
-referencia la nota precedente, excepto en el caso de la primera nota
-de un acorde: la referencia para la primera nota es la @emph{primera}
-nota del acorde anterior.
+acordes. La primera nota del acorde siempre es relativa a la primera nota
+del acorde anterior, o en caso de que el elemento precedente no sea un acorde,
+la altura de la última nota que vino antes del acorde.
+El resto de las notas del acorde son relativas a la nota anterior
+@emph{dentro del mismo acorde}.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@end lilypond
Para ver más información sobre los acordes, consulte @ref{Notación de acordes}.
-
@seealso
Glosario musical:
@rglos{chord}.
@rlearning{Combinar notas para formar acordes}.
Referencia de la notación:
-@ref{Notación de acordes}.
+@ref{Notación de acordes},
+@ref{Articulaciones y ornamentos},
+@ref{Escritura de octava relativa}.
Fragmentos de código:
@rlsr{Simultaneous notes}.
Para reducir el tecleo, se puede usar una abreviatura de repetición
del acorde anterior. El símbolo de repetición de acordes es @code{q}:
-@lilypond[verbatim,quote,relative=1]
-<c e g>4 q q q
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 q <f a c>2 q
@end lilypond
Como en los acordes normales, el símbolo de repetición de acordes
puede usarse con duraciones, articulaciones, elementos de marcado, ligaduras
de expresión, barras, etc., pues sólo se duplican las notas del acorde precedente.
-@lilypond[verbatim,quote,relative=1]
-<c e g>4\p q^"text"( q8)[-| q8.] q16-1-2-3
+@lilypond[verbatim,quote,relative=2]
+<a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
@end lilypond
El símbolo de repetición de acordes
por lo que es posible repetir el acorde más reciente
incluso si se han escrito en medio otras notas que no están en un acorde, o silencios.
-@lilypond[verbatim,quote,relative=1]
-<c e g>8 c'4 q r8 q
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 c4 q2 r8 q8
+@end lilypond
+
+Sin embargo, el símbolo de repetición de acordes no retiene los
+matices dinámicos, las articulaciones ni los ornamentos que
+contiene o que están adosados al acorde anterior.
+
+@lilypond[verbatim,quote,relative=2]
+<a-. c\prall e>1\sfz c4 q2 r8 q8
@end lilypond
@seealso
+Notation Reference:
+@ref{Notación de acordes},
+@ref{Articulaciones y ornamentos}.
+
Archivos de inicio:
@file{ly/@/chord-repetition-init@/.ly}.
@noindent
Aquí se crean explícitamente instancias de voces, cada una de las
-cuales recibe un nombre. Las instrucciones @code{\voiceOne}
+cuales recibe un nombre. Las instrucciones @code{\voiceOne}
... @code{\voiceFour} (voz uno hasta voz cuatro) preparan las voces de
manera que la primera y segunda voces llevan las plicas hacia arriba,
las voces segunda y cuarta llevan las plicas hacia abajo, las cabezas
contextos @code{Voice} explícitos como aparece explicado en
@rlearning{Contextos y grabadores} y en @rlearning{Voces explícitas}.
+
+@strong{@i{Orden de las voces}}
+
+Al escribir varias voces en el archivo de entrada,
+utilice el orden siguiente:
+
+@example
+Voz 1: las más aguda
+Voz 2: la más grave
+Voz 3: la segunda más aguda
+Voz 4: la segunda más grave
+Voz 5: la tercera más aguda
+Voz 6: la tercera más grave
+etc.
+@end example
+
+A pesar de que esto puede parecer contrario a la intuición,
+simplifica el proceso de disposición automática de las figuras.
+Observe que las voces de numeración impar reciben plicas
+hacia arriba, y las de numeración par reciben plicas hacia abajo:
+
+@lilypond[quote,verbatim]
+\new Staff <<
+ \time 2/4
+ { f''2 } % 1: highest
+ \\
+ { c'2 } % 2: lowest
+ \\
+ { d''2 } % 3: second-highest
+ \\
+ { e'2 } % 4: second-lowest
+ \\
+ { b'2 } % 5: third-highest
+ \\
+ { g'2 } % 6: third-lowest
+>>
+@end lilypond
+
@strong{@i{Duraciones idénticas}}
En el caso especial en que queremos tipografiar fragmentos de música
s1
e8 a b c d2
}
-
>>
@end lilypond
-Las instrucciones @code{\shiftOn}, @code{\shiftOnn} y
-@code{\shiftOnnn} especifican el grado en que se deben desplazar los
-acordes de la voz en curso. Las voces exteriores (normalmente: la voz
-uno y la voz dos) tienen @code{\shiftOff} (desplazamiento
-desactivado), mientras que las voces interiores (tres y cuatro) tienen
-@code{\shiftOn} (desplazamiento activado). @code{\shiftOnn} y
-@code{\shiftOnnn} definen niveles de desplazamiento más grandes.
+La instrucción @code{\shiftOn} permite (aunque no fuerza)
+que las notas de una voz se puedan desplazar. Cuando@code{\shiftOn}
+se aplica a una voz, una nota o acorde de esta voz se desplaza
+solamente si su plica chocase en caso contrario con una plica de otra voz,
+y sólo si las plicas en colisión apuntan en la misma dirección.
+La instrucción @code{\shiftOff} evita la posibilidad de este tipo de desplazamiento.
+
+De forma predeterminada, las voces externas (normalmente las voces uno y dos)
+tienen @code{\shiftOff} especificado (desplazamiento desactivado), mientras
+que las voces interiores (tres y siguientes) tienen especificado
+@code{\shiftOn} (desplazamiento activado). Cuando se aplica un desplazamiento,
+las voces con plicas hacia arriba (voces de numeración impar)
+se desplazan hacia la derecha,
+y las voces con las plicas hacia abajo (voces con numeración par)
+se desplazarn a la izquierda.
+
+He aquí un ejemplo que le ayudará a visualizar
+la forma en que se expanidría internamente una expresión polifónica.
+
+@warning{Observe que con tres o más voces, el orden vertical de
+las mismas dentro de su archivo de entrada ¡no sería el mismo que
+el orden vertical de las voces en el pentagrama!}
+
+@lilypond[quote,verbatim]
+\new Staff \relative c'' {
+ %% abbreviated entry
+ <<
+ { f2 } % 1: highest
+ \\
+ { g,2 } % 2: lowest
+ \\
+ { d'2 } % 3: upper middle
+ \\
+ { b2 } % 4: lower middle
+ >>
+ %% internal expansion of the above
+ <<
+ \new Voice = "1" { \voiceOne \shiftOff f'2 }
+ \new Voice = "2" { \voiceTwo \shiftOff g,2 }
+ \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
+ \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
+ >>
+}
+@end lilypond
+
+Dos instrucciones adicionales, @code{\shiftOnn} y @code{\shiftOnnn},
+ofrecen niveles de desplazamiento mayores que se pueden
+especificar temporalmente para resolver colisiones en situaciones
+complejas; véase @rlearning{Ejemplos reales de música}.
Sólo se combinan las notas si tienen la plica en direcciones opuestas
(como la tienen, por ejemplo, en las voces uno y dos de forma
@noindent
Una sección @code{\relative} que se encuentra fuera de
@code{\partcombine} no tiene ningún efecto sobre las notas de
-@var{expresión_musical_1} y @var{expresión_musical_2}.
+@code{@var{expresión_musical_1}} y @code{@var{expresión_musical_2}}.
@snippets
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf
+ Translation of GIT committish: af3c4ca42e348ec53b5034c50f3eeb435f7db05e
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
Valor del número de la primera página. Predeterminado: @code{#1}.
@item max-systems-per-page
+@funindex max-systems-per-page
+
Máximo número de sistemas que tendrán cabida en una página. Está
contemplado por el momento solamente por parte del algoritmo
@code{ly:optimal-breaking}. Predeterminado: no establecido.
@item min-systems-per-page
+@funindex min-systems-per-page
+
Mínimo número de sistemas que habrá en una página. Puede hacer que
las páginas se llenen en exceso si se establece a un valor grande.
Por el momento solamente está contemplado por parte del algoritmo
}
\score {
- \new Score \with {
- \override NonMusicalPaperColumn #'line-break-permission = ##f
- \override NonMusicalPaperColumn #'page-break-permission = ##f
- } {
- \new Staff {
- \repeat unfold 2 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 8 { c'8 c'8 c'8 c'8 } \pageBreak
- \repeat unfold 8 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 2 { c'8 c'8 c'8 c'8 }
+ \new Staff {
+ \repeat unfold 2 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 8 { c'8 c'8 c'8 c'8 } \pageBreak
+ \repeat unfold 8 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 2 { c'8 c'8 c'8 c'8 }
+ }
+ \layout {
+ \context {
+ \Score
+ \override NonMusicalPaperColumn #'line-break-permission = ##f
+ \override NonMusicalPaperColumn #'page-break-permission = ##f
}
}
}
directamente entremezclado dentro del código de notas.
@example
-\new Score @{
+\score @{
\new Staff @{
\repeat unfold 2 @{ c'4 c'4 c'4 c'4 @}
\break
@}
@end example
+
Esto hace sencillas de introducir a las instrucciones @code{\break} y
@code{\pageBreak}, pero mezcla la escritura de música con información
que especifica cómo se debe disponer la música sobre la página.
disposición de los saltos.
@lilypond[quote,verbatim]
-\new Score {
+\score {
\new Staff <<
- \new Voice {
- s1 * 2 \break
- s1 * 3 \break
- s1 * 6 \break
- s1 * 5 \break
- }
- \new Voice {
- \repeat unfold 2 { c'4 c'4 c'4 c'4 }
- \repeat unfold 3 { c'4 c'4 c'4 c'4 }
- \repeat unfold 6 { c'4 c'4 c'4 c'4 }
- \repeat unfold 5 { c'4 c'4 c'4 c'4 }
- }
+ \new Voice {
+ s1 * 2 \break
+ s1 * 3 \break
+ s1 * 6 \break
+ s1 * 5 \break
+ }
+ \new Voice {
+ \repeat unfold 2 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 3 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 6 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 5 { c'4 c'4 c'4 c'4 }
+ }
>>
}
@end lilypond
@ref{Espaciado vertical}.
@lilypond[quote,verbatim]
-\new Score {
+\score {
\new Staff <<
- \new Voice {
-
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \new Voice {
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
- s1 * 2 \break
+ s1 * 2 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 35))
- s1 * 3 \break
+ s1 * 3 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 70))
- s1 * 6 \break
+ s1 * 6 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 105))
- s1 * 5 \break
- }
- \new Voice {
- \repeat unfold 2 { c'4 c'4 c'4 c'4 }
- \repeat unfold 3 { c'4 c'4 c'4 c'4 }
- \repeat unfold 6 { c'4 c'4 c'4 c'4 }
- \repeat unfold 5 { c'4 c'4 c'4 c'4 }
- }
+ s1 * 5 \break
+ }
+ \new Voice {
+ \repeat unfold 2 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 3 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 6 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 5 { c'4 c'4 c'4 c'4 }
+ }
>>
}
@end lilypond
@lilypond[quote,ragged-right]
{
c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
+ b'4 e''4 b'4 e''4 |
\override Staff.NoteSpacing #'stem-spacing-correction = #1.5
\override Staff.StaffSpacing #'stem-spacing-correction = #1.5
c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
+ b'4 e''4 b'4 e''4 |
}
@end lilypond
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 16)
+ #'base-shortest-duration = #(ly:make-moment 1 16)
}
}
}
@code{Score.SpacingSpanner #'uniform-stretching}. Esta propiedad sólo
puede cambiarse al principio de la partitura:
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\new Score \with {
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new Staff{
- \times 4/5 {
- c8 c8 c8 c8 c8
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new Staff {
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ c8 c8 c8 c8
}
- c8 c8 c8 c8
- }
- \new Staff{
- c8 c8 c8 c8
- \times 4/5 {
- c8 c8 c8 c8 c8
+ \new Staff {
+ c8 c8 c8 c8
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'uniform-stretching = ##t
}
}
->>
+}
@end lilypond
Cuando se establece @code{strict-note-spacing}, las notas se separan
espaciado clásico sin justificación por la derecha.
@lilypond[quote,verbatim,ragged-right]
-\new Score <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
->>
+ >>
+}
@end lilypond
Observe que la blanca que inicia el compás ocupa mucho menos de la
ajuste @code{proportionalNotationDuration}.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
}
}
->>
+}
@end lilypond
La blanca al principio del compás y las notas rápidas de la segunda
denominador que, juntos, expresan una cierta fracción de redonda. La
llamada @code{#(ly:make-moment 1 20)}, por tanto, produce una duración
de referencia de una nota de un veinteavo de redonda (semicorcheas de
-cinquillo). Los valores @code{#(ly:make-moment 1 16)},
-@code{#(ly:make-moment 1 8)} y @code{#(ly:make-moment 3 97)} son
-también posibles.
+cinquillo). Son también posibles valores como
+@code{#(ly:make-moment 1 16)},
+@code{#(ly:make-moment 1 8)} y @code{#(ly:make-moment 3 97)}.
¿Cómo seleccionamos la duración correcta de referencia para pasarla a
@code{proportionalNotationDuration}? Normalmente mediante un proceso
más largas aplican un espaciado más apretado.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 8)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 8)
}
}
->>
+}
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 16)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 16)
}
}
->>
+}
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 32)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 32)
}
}
->>
+}
@end lilypond
Observe que una duración de referencia demasiado grande (como la
diferente de grupo especial.
@lilypond[quote,verbatim,ragged-right]
-\new Score <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
}
- }
->>
+ >>
+}
@end lilypond
El espaciado es defectuoso porque las notas regularmente espaciadas
-del pentagrama inferior no se amplían de manera uniforme. El grabado
-clásico incluye muy pocos tresillos complejos y así las reglas del
+del pentagrama inferior no se amplían de manera uniforme. Los grabados
+clásicos incluyen muy pocos tresillos complejos y así las reglas del
grabado clásico pueden generar este tipo de resultado. El
-establecimiento de @code{proportionalNotationDuration} remedia esta
-situación considerablemente.
+establecimiento de @code{proportionalNotationDuration} lo
+soluciona.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
}
}
->>
+ }
@end lilypond
+
Pero si observamos con mucho cuidado podremos ver que las notas de la
segunda mitad del 9-illo están espaciadas de forma ligeramente más
ancha que las de la primera mitad del 9-illo. Para asegurar una
propiedad de @code{SpacingSpanner}.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
+ \override SpacingSpanner #'uniform-stretching = ##t
}
}
->>
+}
@end lilypond
Nuestro ejemplo de dos pentagramas ahora está espaciado exactamente,
@lilypond[verbatim,quote,relative=1]
e4 c g\f c
-\override DynamicText #'extra-offset = #'( -2.2 . 2.0)
-e4 c g\f c
+e4 c g-\tweak #'X-offset #-2.7 -\tweak #'Y-offset #2.5 \f c
@end lilypond
@item
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: dfd6e629fdd9885b65ed2612b0cb5255806fe40b
+ Translation of GIT committish: 8e0330b913e0c7494282e6b00cebbf4dcee79b50
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
* Crear instancias de pentagramas nuevos::
* Agrupar pentagramas::
* Grupos de pentagramas anidados::
+* Separación de sistemas::
@end menu
@rinternals{SystemStartBracket},
@rinternals{SystemStartSquare}.
+@node Separación de sistemas
+@unnumberedsubsubsec Separación de sistemas
+@translationof Separating systems
+
+@cindex separación de sistemas, marca de
+
+Si el número de sistemas por p´agina varía de una página a otra, es
+costumbre separar los sistemas colocando una marca separadora entre
+ellos. De forma predeterminada, el separador de sistemas es nulo,
+pero se puede activar con una opción de @code{\paper}.
+
+@c \book is required here to display the system separator
+@c ragged-right is required as there are two systems
+@lilypond[verbatim,quote,ragged-right]
+\book {
+ \score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ >>
+ }
+ \paper {
+ system-separator-markup = \slashSeparator
+ % following commands are needed only to format this documentation
+ paper-width = 100\mm
+ paper-height = 100\mm
+ tagline = ##f
+ }
+}
+@end lilypond
+
+@seealso
+Referencia de la notación:
+@ref{Formateo de las páginas}.
+
+Fragmentos de código:
+@rlsr{Notación de los pentagramas}.
@node Modificación de pentagramas sueltos
@subsection Modificación de pentagramas sueltos
}
@end lilypond
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
partitura excepto los del primer sistema.
@warning{Un pentagrama se considera vacío cuando contiene solamente
-silencios multicompás, desplazamientos, silencios de separación o una
-combinación de estos elementos.}
+silencios, silencios multicompás, desplazamientos, silencios de
+separación o una combinación de estos elementos.}
@lilypond[verbatim,quote,ragged-right]
\layout {
otras voces y dar formato a las notas guía.
@menu
-* Indicaciones metronómicas::
* Nombres de instrumentos::
* Citar otras voces::
* Formateo de las notas guía::
@end menu
-@node Indicaciones metronómicas
-@unnumberedsubsubsec Indicaciones metronómicas
-@translationof Metronome marks
-
-@cindex tempo
-@cindex pulsos por minuto
-@cindex metrónomo, indicación de
-@cindex metrónomo, indicación de, con texto
-
-@funindex \tempo
-@funindex tempo
-
-Es muy sencillo escribir una indicación metronómica básica:
-
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
-@end lilypond
-
-Se pueden usar indicaciones de tempo con texto:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
-@end lilypond
-
-La combinación de una indicación metronómica y un texto hace que la
-marca de metrónomo se encierre entre paréntesis automáticamente:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
-@end lilypond
-
-En general, el texto puede ser cualquier objeto de marcado:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
-@end lilypond
-
-Se puede escribir una indicación metronómica entre paréntesis sin
-ninguna indicación textual, escribiendo una cadena vacía en la
-entrada:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
-@end lilypond
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
-
-@c perhaps also an example of how to move it horizontally?
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-tempo-without-a-metronome-mark.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{creating-metronome-marks-in-markup-mode.ly}
-
-Para ver más detalles, consulte @ref{Formatear el texto}.
-
-
-@seealso
-Glosario musical:
-@rglos{metronome},
-@rglos{metronomic indication},
-@rglos{tempo indication},
-@rglos{metronome mark}.
-
-Referencia de la notación:
-@ref{Formatear el texto},
-@ref{Salida MIDI}.
-
-Fragmentos de código:
-@rlsr{Staff notation}.
-
-Referencia de funcionamiento interno::
-@rinternals{MetronomeMark}.
-
-
@node Nombres de instrumentos
@unnumberedsubsubsec Nombres de instrumentos
@translationof Instrument names
Esta instrucción copia
sólo las notas y los silencios de
los compases correspondientes a partir de
-@var{nombre_de_la_parte} dentro de un contexto @code{CueVoice} de voz
+@code{@var{nombre_de_la_parte}} dentro de un contexto @code{CueVoice} de voz
guía. La voz guía @code{CueVoice} se crea implícitamente, y se
-produce simultáneamente con @var{música}, lo que crea una situación
-polifónica. El argumento @var{voz} determina si la notación de las
+produce simultáneamente con @code{@var{música}}, lo que crea una situación
+polifónica. El argumento @code{@var{voz}} determina si la notación de las
notas guía debe ser como primera o como segunda voz; @code{UP}
(arriba) corresponde a la primera voz, y @code{DOWN} (abajo)
corresponde a la segunda.
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: a4d7a0103cff1c2bc140aaac66041a4b3137da40
+ Translation of GIT committish: 4ecef06e22df3293a2bf246e1ebccb300ce90b3e
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
El estilo de la línea, así como la cadena de texto, se pueden definir
como una propiedad de objeto. Esta sintaxis se describe en
-@ref{Estilos de línea}.
-
-@knownissues
-LilyPond sólo puede manejar un objeto de extensión de texto por cada
-voz.
+@ref{Estilos de línea}. Los extensores de texto
+forman parte del contexto @code{Dynamics}; véase
+@rinternals{Dynamics}.
@funindex \textSpannerUp
@code{\textSpannerNeutral}.
@endpredefined
+@knownissues
+LilyPond sólo puede manejar un objeto de extensión de texto por cada
+voz.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{dynamics-text-spanner-postfix.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{dynamics-custom-text-spanner-postfix.ly}
@seealso
Referencia de la notación:
@ref{Matices dinámicos}.
Fragmentos de código:
-@rlsr{Text}.
+@rlsr{Text},
+@rlsr{Expressive marks}.
Referencia de funcionamiento interno:
-@rinternals{TextSpanner}.
+@rinternals{TextSpanner},
+@rinternals{Dynamics}.
@node Indicaciones de texto
@ref{Indicaciones dinámicas contemporáneas} y @ref{Marcas de repetición manual}.
@c \concat is actually documented in Align (it is not
-@c a font-switching command). But we need it here. -vv
+@c a font-switching command). But we need it here. -vv
Si se usan dentro de una palabra, algunas instrucciones de cambio de
tipografía o de formateo pueden producir un espacio vacío no deseado.
\line \bold { Acto I }
\wordwrap \italic {
(La escena representa el corral de una casa de
- gitanos en el Albaicín de Granada. Al fondo una
+ gitanos en el Albaicín de Granada. Al fondo una
puerta por la que se ve el negro interior de
una Fragua, iluminado por los rojos resplandores
del fuego.)
\line \bold { Acto II }
\override #'(line-width . 50)
\justify \italic {
- (Calle de Granada. Fachada de la casa de Carmela
+ (Calle de Granada. Fachada de la casa de Carmela
y su hermano Manuel con grandes ventanas abiertas
a través de las que se ve el patio
donde se celebra una alegre fiesta)
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 0945e7219a3995158d76267d26f77f57659c8578
+ Translation of GIT committish: ab33677eec38b683b5a5223bf7aa5f4bed38549c
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@cindex Bartók pizzicato
@cindex snap pizzicato
-@snippets
+El @notation{snap pizzicato} (conocido también como @qq{pizzicato de Bartók}) es un
+tipo de pizzicato en el que la cuerda se pulsa hacia arriba (y no lateralmente)
+de forma deliberada, de forma que golpea la madera del diapasón.
+
+@lilypond[verbatim,quote,relative=1]
+c4\snappizzicato
+<c' e g>4\snappizzicato
+<c' e g>4^\snappizzicato
+<c, e g>4_\snappizzicato
+@end lilypond
+
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{snap-pizzicato-bartok-pizzicato.ly}
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 655ff5747c4103f55db501725c7bab381b42a94b
+ Translation of GIT committish: 01097a2a0d059f418cf7803d6c83c41ecc639110
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@menu
* Notación común para música vocal::
-* Introducir la letra::
-* Alineación de la letra a una melodía::
-* Usos específicos de la letra::
+* Técnicas específicas para la letra::
* Versos::
+* Canciones::
+* Música coral::
+* Ópera y musicales::
+* Cánticos salmos e himnos::
+* Música vocal antigua::
@end menu
@subsection Notación común para música vocal
@translationof Common notation for vocal music
-Esta sección trata sobre asuntos relacionados con la música vocal en
-general y con ciertos estilos concretos de música vocal.
-
+Esta sección se ocupa de las cuestiones comunes a la mayoría de los
+tipos de música vocal.
@menu
-* Referencias para música vocal y letra::
-* Ópera::
-* Cancioneros::
-* Música hablada::
-* Cantos::
-* Música vocal antigua::
+* Referencias para música vocal::
+* Introducir la letra::
+* Alineación de la letra a una melodía::
+* Duración automática de las sílabas::
+* Duración manual de las sílabas::
+* Varias sílabas sobre una nota::
+* Varias notas sobre una sílaba::
+* Saltar notas::
+* Líneas de extensión y guiones::
@end menu
-@node Referencias para música vocal y letra
-@unnumberedsubsubsec Referencias para música vocal y letra
-@translationof References for vocal music and lyrics
+@node Referencias para música vocal
+@unnumberedsubsubsec Referencias para música vocal
+@translationof References for vocal music
-@c TODO: split this section in two parts? -vv
-
-Pueden surgir varias cuestiones al tipografiar música vocal. Algunas
-se discuten en esta sección, pero otras están tratadas en otros
-lugares del manual:
+Esta sección indica dónde encontrar los detalles de las cuestiones de
+notación que pueden surgir en cualquie tipo de música vocal.
@itemize
+
@item
Casi todos los estilos de música vocal utilizan texto escrito como
-letra. Hay una introducción a esta notación en @rlearning{Elaborar canciones sencillas}.
+letra. Hay una introducción a esta notación en @rlearning{Elaborar
+canciones sencillas}.
@item
La música vocal probablemente requiere el uso del modo de marcado o
(nombres de los personajes, etc.). Esta sintaxis está descrita en
@ref{Introducción al marcado de texto}.
-@item
-Las hojas guía de acordes o @emph{Lead sheets} se pueden imprimir
-combinando partes vocales y el @q{modo de acordes}; esta sintaxis se
-explica en @ref{Notación de acordes}.
@item
-Los @q{ambitus} o indicaciones de tesitura vocal se pueden añadir al
+Los @notation{ambitus} o indicaciones de tesitura vocal se pueden añadir al
principio de los pentagramas vocales, como se explica en
@ref{Tesitura}.
-@item
-Las partes vocales se pueden imprimir utilizando las claves
-tradicionales, como se muestra en @ref{Clave}.
-
-@item
-Está contemplada la música vocal en estilo de notación antiguo, como
-se explica en @ref{Notación antigua}.
@end itemize
-
-@node Ópera
-@unnumberedsubsubsec Ópera
-@translationof Opera
-
-@c TODO
-Continuará...
-
-@c add characters names snippet -vv
-
-@node Cancioneros
-@unnumberedsubsubsec Cancioneros
-@translationof Song books
-
-@c TODO
-Continuará...
-
-@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{simple-lead-sheet.ly}
-
-
-@seealso
-Referencia de la notación:
-@ref{Notación de acordes}.
-
-
-@node Música hablada
-@unnumberedsubsubsec Música hablada
-@translationof Spoken music
-
-@cindex parlato
-@cindex Sprechgesang
-
-@c TODO Add @refs
-
-Los efectos como el @q{parlato} o el @q{Sprechgesang} requieren de los
-intérpretes que hablen sin altura determinada pero con su ritmo; su
-notación se realiza mediante cabezas de nota en forma de aspas, como
-se muestra en @ref{Cabezas de nota especiales}.
-
-@c TODO add "marking-notes-on-spoken-parts" snippet -vv
-@c add "showing the rhythm of a melody" snip
-@c add "one staff-line notation"
-@c add "improvisation" ref
-@c add "lyrics independents of notes" ref
-
-
-@node Cantos
-@unnumberedsubsubsec Cantos
-@translationof Chants
-
-@c TODO Add text from lsr and -user
-Continuará...
-
-
-@node Música vocal antigua
-@unnumberedsubsubsec Música vocal antigua
-@translationof Ancient vocal music
-
-@c TODO
-Continuará...
-
-@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
-@c and "Transcription of Ancient music with incipit" snippet. -vv
-
-
@seealso
-Referencia de la notación:
-@ref{Notación antigua}.
+Glosario musical:
+@rglos{ambitus}.
@node Introducir la letra
-@subsection Introducir la letra
+@unnumberedsubsubsec Introducir la letra
@translationof Entering lyrics
-@c TODO add one sentence here. -vv
-
-@menu
-* Explicación de la letra::
-* Elaborar canciones sencillas::
-* Trabajar con el texto y las variables::
-@end menu
-
-
-@node Explicación de la letra
-@unnumberedsubsubsec Explicación de la letra
-@translationof Lyrics explained
-
@cindex letra
@funindex \lyricmode
@cindex puntuación
\override Score . LyricText #'font-shape = #'italic
@end example
-@funindex _
-@cindex espacios, en la letra
-@cindex comillas, en la letra
-@cindex ligaduras, en la letra
-
-Para asignar más de una sílaba a una única nota, puede rodearlas por
-comillas o usar un carácter @code{_} (guión bajo), para obtener
-espacios entre las sílabas, o usar el símbolo de tilde curva
-(@code{~}) para obtener una ligadura entre sílabas de la letra.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 3/4
-\relative c' { c2 e4 g2 e4 }
-\addlyrics { gran- de_a- mi- go }
-\addlyrics { pu- "ro y ho-" nes- to }
-\addlyrics { pu- ro~y~ho- nes- to }
-@end lilypond
-
-La ligadura de texto se construye con el carácter Unicode U+203F, por
-tanto debe asegurarse de que tiene instalada una tipografía (como
-DejaVuLGC) que incluya este glifo.
-
-
Para escribir letra con caracteres de una lengua no inglesa, o que
tenga caracteres acentuados o especiales (como el símbolo del corazón
o comillas inclinadas), introduzca simplemente los caracteres
@rinternals{LyricSpace}.
-@c FIXME: this title has to be changed (possible confusion with LM) -vv
-@node Elaborar canciones sencillas
-@unnumberedsubsubsec Elaborar canciones sencillas
-@translationof Setting simple songs
-
-@cindex \addlyrics
-
-La manera más fácil de poner letra a una melodía es añadir
-
-@example
-\addlyrics @{ @var{la letra} @}
-@end example
-
-@noindent
-a la melodía. He aquí un ejemplo:
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-@end lilypond
-
-Se pueden añadir más versos mediante la adición de más secciones
-@code{\addlyrics}
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-\addlyrics { speel het spel }
-\addlyrics { joue le jeu }
-@end lilypond
-
-La instrucción @code{\addlyrics} no puede manejar situaciones de
-polifonía. Para estos casos tendrá que usar @code{\lyricsto} y
-@code{\lyricmode}, tal y como se explicará en @ref{Explicación de la letra}.
-
-
-@node Trabajar con el texto y las variables
-@unnumberedsubsubsec Trabajar con el texto y las variables
-@translationof Working with lyrics and variables
-
-@cindex letra, identificadores de
-
-Para definir identificadores que contengan texto, se debe usar la
-función @code{\lyricmode}. Si embargo no tendrá que escribir las
-duraciones, si añade @code{\addlyrics} o @code{\lyricsto} en el
-momento de invocar el identificador.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
-Para arreglos distintos o más complejos, la mejor forma es preparar
-previamente la jerarquía de pautas y textos, p.ej.:
-@example
-\new ChoirStaff <<
- \new Voice = "soprano" @{ @emph{música} @}
- \new Lyrics = "textoSoprano" @{ s1 @}
- \new Lyrics = "textoTenor" @{ s1 @}
- \new Voice = "tenor" @{ @emph{música} @}
->>
-@end example
-
-@noindent
-y después combinar las melodías y líneas de texto correspondientes:
-
-@example
-\context Lyrics = textoSoprano \lyricsto "soprano"
-@emph{el texto}
-@end example
-
-@noindent
-El código de entrada definitivo sería algo como
-
-@example
-<<\new ChoirStaff << @emph{prepare la música} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
-@emph{etc}
->>
-@end example
-
-
-@seealso
-@c TODO: document \new Staff << Voice \lyricsto >> bug
-Referencia de funcionamiento interno:
-@rinternals{LyricCombineMusic},
-@rinternals{Lyrics}.
-
-
-
@node Alineación de la letra a una melodía
-@subsection Alineación de la letra a una melodía
+@unnumberedsubsubsec Alineación de la letra a una melodía
@translationof Aligning lyrics to a melody
@funindex \lyricmode
vivos los contextos, consulte @ref{Mantener vivos los contextos}.
-@menu
-* Duración automática de las sílabas::
-* Duración manual de las sílabas::
-* Varias sílabas sobre una nota::
-* Varias notas sobre una sílaba::
-* Saltar notas::
-* Líneas de extensión y guiones::
-* Letras y repeticiones::
-@end menu
-
@node Duración automática de las sílabas
@unnumberedsubsubsec Duración automática de las sílabas
@translationof Automatic syllable durations
-@cindex duraciones automáticas de las sílabas
+@cindex sílabas, duraciones automáticas
@cindex letra y melodías
La letra se puede alinear automáticamente bajo una melodía dada. Esto
El segundo verso no está bien alineado porque las duraciones
no se han especificado. Una solución para eso sería usar @code{\lyricsto}.
+@cindex \addlyrics
+
El comando @code{\addlyrics} es realmente tan sólo una forma cómoda de
escribir una estructura de LilyPond más complicada que establece la
letra.
\new Lyrics \lyricsto "blabla" @{ LETRA @}
@end example
+He aquí un ejemplo:
+
+@lilypond[ragged-right,verbatim,fragment,quote]
+\time 3/4
+\relative c' { c2 e4 g2. }
+\addlyrics { play the game }
+@end lilypond
+
+Se pueden añadir más versos poniendo más secciones @code{\addlyrics}:
+
+@lilypond[ragged-right,verbatim,fragment,quote]
+\time 3/4
+\relative c' { c2 e4 g2. }
+\addlyrics { play the game }
+\addlyrics { speel het spel }
+\addlyrics { joue le jeu }
+@end lilypond
+
+La instrucción @code{\addlyrics} no es capaz de manejar situaciones de
+polifonía. Para estos casos debería usar @code{\lyricsto} y
+@code{\lyricmode}, para ver más detalles consulte @ref{Introducir la
+letra}.
+
+
@node Duración manual de las sílabas
@unnumberedsubsubsec Duración manual de las sílabas
@translationof Manual syllable durations
@translationof Multiple syllables to one note
@funindex _
-@cindex ligaduras, en el texto
-
-Para asignar más de una sílaba a una sola nota, puede encerrarlas
-entre comillas o utilizar un guión bajo (@code{_}), para dejar
-espacios entre las sílabas, o usar el símbolo de tilde curva
-(@code{~}) para obtener una ligadura en el texto@footnote{Las
-ligaduras de texto están hechas con el carácter de Unicode U+203F, por
-tanto debe asegurarse de tener instalada una tipografía (como
-DejaVuLGC) que incluya este glifo.}.
+@cindex ligaduras en la letra
+@cindex espacios en la letra
+@cindex comillas en la letra
+
+Para asignar más de una sílaba a una única nota con espacioes entre
+las sílabas, podemos encerrar la frase entre comillas o utilizar un
+carácter de guión bajo @code{_}. De forma alternativa, podemos usar
+el símbolo de tilde curva (@code{~}) para obtener una ligadura de
+texto. La ligadura de texto está implementada con el carácter Unicode
+U+203F, por tanto debemos asegurarnos de que tenemos una fuente
+tipográfica (como DejaVuLGC) instalada, que incluya este glifo.
@lilypond[quote,ragged-right,fragment,verbatim]
\time 3/4
@c duplicated: TODO fix
Además, podemos hacer que se imprima una línea extensora para indicar
el melisma en la partitura, escribiendo un doble guión bajo junto a la
-primera sílaba del melisma. Este ejemplo presenta los tres elementos
+primera sílaba del melisma. Este ejemplo presenta los tres elementos
que se usan con este fin (todos ellos circundados por espacios):
guiones dobles para separar las sílabas de una palabra, guiones bajos
para añadir notas al melisma, y un doble guión bajo para poner una
línea extensora.
-@c wrong: extender line only on last syllable of a word. Change example
+@c wrong: extender line only on last syllable of a word. Change example
@lilypond[relative=1,verbatim,fragment,quote]
{ \set melismaBusyProperties = #'()
c d( e) f f( e) e e }
la melodía, mediante la inserción de desplazamientos o @code{\skip}s
en la letra. Por cada @code{\skip}, el texto se retrasa en una nota.
La instrucción @code{\skip} debe ir seguida de una duración válida,
-pero esta duración se ignora cuando se usa @code{\skip} en las letras.
+pero esta duración se ignora cuando se usa @code{\skip} en las letras
+cuya duración se toma de las notas de una melodía asociada por medio de
+@code{\addlyrics} o de @code{\lyricsto}.
@lilypond[verbatim,ragged-right,quote]
\relative c' { c c g' }
@rinternals{LyricHyphen}.
-@node Letras y repeticiones
-@unnumberedsubsubsec Letras y repeticiones
-@translationof Lyrics and repeats
-
-@c TODO New section. Add text
-Continuará...
-
-@node Usos específicos de la letra
-@subsection Usos específicos de la letra
-@translationof Specific uses of lyrics
-
-@c FIXME This whole section is to be reorganized. -vv
+@node Técnicas específicas para la letra
+@subsection Técnicas específicas para la letra
+@translationof Techniques specific to lyrics
-A menudo se aplican a una melodía distintos versos de una canción de
-formas ligeramente distintas. Tales variantes pueden aún captarse
-mediante @code{\lyricsto}.
+@c TODO This whole section is to be reorganized. -vv
@menu
+* Trabajar con letra y variables::
+* Letra y repeticiones::
* Letras en divisi::
* Letra independiente de las notas::
* Espaciado de las sílabas::
-* Centrado de la letra entre pentagramas::
+* Colocación de la letra::
@end menu
-@node Letras en divisi
-@unnumberedsubsubsec Letras en divisi
-@translationof Divisi lyrics
-Puede presentar letras alternativas (o divisi) nombrando contextos de
-voz y aplicando la letra a los mencionados contextos específicos.
+@node Trabajar con letra y variables
+@unnumberedsubsubsec Trabajar con letra y variables
+@translationof Working with lyrics and variables
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \new Voice = "splitpart" { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
-@end lilypond
+@cindex letra y variables
+Para definir variables que contengan letra de canciones, se debe
+utilizar la función @code{\lyricmode}. No tenemos que introducir las
+duraciones si escribimos @code{\addlyrics} ó @code{\lyricsto} en el
+momento de invocar nuestra variable.
-Puede usar este truco para presentar las distintas letras de una
-sección que se repite.
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" \relative c' {
- c2 e | g e | c1 |
- \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
- do mi sol mi do
- la si do }
- \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
- do re mi fa sol }
- \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
- dodo rere mimi fafa solsol }
+Para disposiciones distintas o de mayor complejidad, la mejor forma es
+configurar primero una jerarquía de pautas y letras, por ejemplo:
+
+@example
+\new ChoirStaff <<
+ \new Voice = "soprano" @{ @emph{music} @}
+ \new Lyrics = "sopranoLyrics" @{ s1 @}
+ \new Lyrics = "tenorLyrics" @{ s1 @}
+ \new Voice = "tenor" @{ @emph{music} @}
>>
-}
-@end lilypond
+@end example
+@noindent
+y después combinar las melodías adecuadas con las líneas de texto:
-@node Letra independiente de las notas
+@example
+\context Lyrics = sopranoLyrics \lyricsto "soprano"
+@emph{the lyrics}
+@end example
+
+@noindent
+El código final de entrada sería algo parecido a esto:
+
+@example
+<<\new ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+@emph{etc}
+>>
+@end example
+
+@ignore
+@c TODO
+http://code.google.com/p/lilypond/issues/detail?id=329
+The problem cannot be reproduced.
+The following has no sense, because the issue seems to be fixed.
+A comment is in tracker waiting for response ---FV
+
+
+Be careful when defining a variable with lyrics that creates a new
+context, for example, using the deprecated @code{\lyrics} command. See
+the next erroneous example:
+
+@example
+words = \lyrics{ %warning: this creates a new context
+ one two
+}
+<<
+ \new Voice = "sop" { c1 }
+ \new Lyrics \lyricsto "sop" { \words }
+ \new Voice = "alt" { c2 c }
+ \new Lyrics \lyricsto "alt" { \words }
+>>
+@end example
+
+the problem is that \lyricsto will try to connect the "sop" melody with the context
+created by "\new Lyrics".
+
+Then \lyrics in \words creates another context, and the original "\new Lyrics" one
+remains empty.
+
+@end ignore
+
+
+@seealso
+@c TODO: document \new Staff << Voice \lyricsto >> bug
+Referencia de funcionamiento interno:
+@rinternals{LyricCombineMusic},
+@rinternals{Lyrics}.
+
+
+@node Letra y repeticiones
+@unnumberedsubsubsec Letra y repeticiones
+@translationof Lyrics and repeats
+
+@cindex repeticiones y letra
+@cindex letra, repeticiones
+
+@subheading Repeticiones sencillas
+
+Las repeticiones @emph{en la música} se describen extensamente en
+alguna otra parte de este manual; véase @ref{Repeticiones}. Esta
+sección explica cómo añadir letra a secciones de música que se
+repiten.
+
+La letra que va con una sección de música que se repite, debiera estar
+encerrada en la misma construcción de repeticiones exacta que la
+música, si el texto no cambia.
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
+}
+@end lilypond
+
+El texto se expandirá correctamente de esta manera si las repeticiones
+se despliegan.
+
+@lilypond[verbatim,quote]
+\score {
+ \unfoldRepeats {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
+ }
+}
+@end lilypond
+
+Si la sección repetida tiene distintos textos y está desplegada, tan
+sólo escriba el texto completo:
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat unfold 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ The first time words.
+ Sec -- ond time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex letra, desplazamiento de
+@funindex \skip
+
+Cuando el texto de las secciones de primera o segunda vez es distinto,
+la letra de cada repetición se debe escribir dentro de contextos
+@code{Lyrics} diferentes. Las secciones anteriores no repetidas se
+deben saltar en la segunda repetición y siguientes. La manera más
+fácil de saltar varias notas es utilizar @code{\repeat unfold} con una
+instrucción @code{\skip} en su interior.
+
+Observación: no utilice un guión bajo, @code{_}, para saltar notas,
+pues esto indica un melisma y hará que la sílaba precedente aparezca
+alineada por la izquierda.
+
+@warning{La instrucción @code{@bs{}skip} debe ir seguida de un número,
+pero este número se ignora en aquellas letras cuya duración
+deriva de las duraciones de las notas de una melodía asociada
+con ella a través de @code{\addlyrics} o de @code{\lyricsto}.
+Cada @code{@bs{}skip} salta una sola nota de cualquier duración, sin
+importar el valor del número que le sigue.}
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ The first time words.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ % skip 4 notes of any duration
+ \repeat unfold 4 { \skip 1 }
+ Sec -- ond time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex letra, repetición con una voz temporal
+
+Una forma alternativa, que evita la necesidad de usar desplazamientos
+y tener que contar notas, es utilizar una voz temporal para la sección
+repetida. Esto puede ser preferible si las secciones anteriores aún
+están sujetas a cambios. Se puede insertar una voz temporal en
+cualquier punto dentro de la corriente musical principal y en paralelo
+con ella, como se muestra más abajo, pero al usar esta técnica en
+partituras complejas puede ser necesario mantener viva la voz
+principal; véase @ref{Mantener vivos los contextos}.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singleVoice" {
+ \relative c'' { a4 a a a }
+ \new Voice = "repeatVoice" {
+ \relative c'' \repeat volta 3 { b4 b b b }
+ }
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics <<
+ \lyricsto "singleVoice" {
+ Not re -- peat -- ed.
+ The end sec -- tion.
+ }
+ \lyricsto "repeatVoice" {
+ The first time words.
+ }
+ >>
+ \new Lyrics {
+ \lyricsto "repeatVoice" {
+ Sec -- ond time words.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "repeatVoice" {
+ The third time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@c TODO lowering a common line of lyrics
+
+@subheading Repeticiones con finales alternativos (primera y segunda vez)
+
+@cindex letra, repeticiones con finales alternativos
+@cindex letra, repeticiones con primera y segunda vez
+@cindex repetición de la letra con finales alternativos
+@cindex repetición de la letra con primera y segunda vez
+@cindex finales alternativos y letra
+@cindex primera y segunda vez y letra
+
+Si el texto de la sección repetida es el mismo, se puede usar
+exactamente la misma estructura tanto para la letra como para la
+música.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- }
+ \alternative { { ed twice. } { ed twice. } }
+ }
+ }
+ >>
+}
+@end lilypond
+
+Pero cuando la sección repetida tiene un texto distinto, no se puede
+usar una construcción de repetición para el texto y es necesario
+insertar manualmente instrucciones @code{\skip} como se describe en la
+sección anterior, para saltar sobre las notas en las secciones
+alternativas que no correspondan.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ The first time words.
+ \repeat unfold 2 { \skip 1 }
+ End here.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Sec -- ond
+ \repeat unfold 2 { \skip 1 }
+ time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex letra y notas ligadas
+@funindex \repeatTie
+
+Cuando una nota está ligada sobre dos o más finales alternativos
+(sobre la primera nota de una casilla de primera y segunda vez), se
+usa una ligadura de unión para arrastrar la nota dentro del primer
+final alternativo y se usa una instrucción @code{\repeatTie} de
+ligadura de repetición en las casillas de repetición siguientes. Esta
+estructura produce problemas de alineación difíciles cuando hay letra
+de por medio; aumentar la longitud de las secciones alternativas de
+forma que las notas ligadas se vean contenidas completamente dentro de
+ellas, puede ofrecer un resultado más aceptable.
+
+La ligadura de unión crea un melisma dentro de la casilla de primera
+vez pero no en la segunda vez y siguientes; por tanto, para alinear la
+letra correctamente es necesario inhabilitar la creación automática de
+melismas sobre la sección de finales alternativos e insertar saltos
+manuales.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \set melismaBusyProperties = #'()
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ \unset melismaBusyProperties
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ \repeat volta 2 { Here's a __ }
+ \alternative {
+ { \skip 1 verse }
+ { \skip 1 sec }
+ }
+ ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+Observe que si se usa @code{\unfoldRepeats} sobre una sección que
+contiene alguna @code{\repeatTie}, la @code{\repeatTie} se debe
+eliminar para evitar que se impriman al mismo tiempo los dos tipos de
+ligadura.
+
+Cuando la sección repetida tiene textos distintos, no se puede usar
+@code{\repeat} para la letra y se deben insertar instrucciones
+@code{\skip} manualmente, como se vio antes.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's one
+ \repeat unfold 2 { \skip 1 }
+ more to sing.
+ }
+ }
+ >>
+}
+@end lilypond
+
+Si queremos imprimir líneas extensoras y guiones que entran o salen de
+las casillas de primera y segunda vez, hemos de insertarlos
+manualmente.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's "a_"
+ \skip 1
+ "_" sec -- ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+
+
+@node Letras en divisi
+@unnumberedsubsubsec Letras en divisi
+@translationof Divisi lyrics
+
+Podemos imprimir letras alternativas (o en divisi) nombrando los
+contextos de voz y adosando la letra a dichos contextos específicos.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \new Voice = "splitpart" { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { will }
+>> }
+@end lilypond
+
+
+Podemos usar este truco para presentar las distintas letras de una
+sección que se repite.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" \relative c' {
+ c2 e | g e | c1 |
+ \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
+ do mi sol mi do
+ la si do }
+ \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
+ do re mi fa sol }
+ \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
+@node Letra independiente de las notas
@unnumberedsubsubsec Letra independiente de las notas
@translationof Lyrics independent of notes
@end ignore
-@node Centrado de la letra entre pentagramas
-@unnumberedsubsubsec Centrado de la letra entre pentagramas
-@translationof Centering lyrics between staves
+@node Colocación de la letra
+@unnumberedsubsubsec Colocación de la letra
+@translationof Placement of lyrics
-@c TODO Add text from -user
-Continuará...
+@cindex colocación de la letra
+@cindex letra, posicionar
+@c TODO Add text from -user
-@node Versos
-@subsection Versos
-@translationof Stanzas
+Las letras se sitúan sobre el pentagrama, debajo del pentagrama o
+entre pentagramas, dependiendo del tipo de música. Para situar la
+letra debajo de la pauta asociada, tan sólo tenemos que definir el
+contexto Lyrics debajo del contexto Staff:
-@menu
-* Añadir números de verso::
-* Añadir expresiones dinámicas a los versos::
-* Añadir el nombre de los cantantes a los versos::
-* Versos con ritmos distintos::
-* Imprimir los versos al final::
-* Imprimir los versos al final en varias columnas::
-@end menu
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Para posicionar la letra por encima del pentagrama, coloque la
+declaración del contexto Lyrics entres de los contextos Staff y Voice,
+pero la instrucción @code{\lyricsto} debe venir después de la
+declaración de Voice a la que hace referencia, de esta forma:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Lyrics = "lyrics"
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \context Lyrics = "lyrics" {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+De manera alternativa, se puede especificar la posición de la letra
+explícitamente:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff = "staff" {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics \with { alignAboveContext = "staff" } {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Cuando hay dos voces en pentagramas separados, la letra se puede
+situar entre los pentagramas utilizando uno cualquiera de estos
+métodos. He aquí un ejemplo del primer método:
+
+@lilypond[quote,verbatim]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos"
+ \new Staff {
+ \new Voice = "contraltos" {
+ \relative c'' { a4 a a a }
+ }
+ }
+ \context Lyrics = "sopranos" {
+ \lyricsto "sopranos" {
+ Sop -- ra -- no words
+ }
+ }
+ \context Lyrics = "contraltos" {
+ \lyricsto "contraltos" {
+ Con -- tral -- to words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Se pueden generar otras combinaciones de letras y pentagramas
+elaborando algo más estos ejemplos, o examinando las plantillas SATB
+que están en el manual de aprendizaje.
+
+@seealso
+Manual de aprendizaje:
+@rlearning{Conjuntos vocales}.
+
+Referencia de la notación:
+@ref{Alinear los contextos},
+@ref{Crear contextos}.
+
+@node Versos
+@subsection Versos
+@translationof Stanzas
+
+@menu
+* Añadir números de verso::
+* Añadir expresiones dinámicas a los versos::
+* Añadir el nombre de los cantantes a los versos::
+* Versos con ritmos distintos::
+* Imprimir los versos al final::
+* Imprimir los versos al final en varias columnas::
+@end menu
@node Añadir números de verso
}
@end lilypond
+
@noindent
Estos números aparecerán inmediatamente antes de la primera sílaba.
>>
@end lilypond
-
@node Añadir el nombre de los cantantes a los versos
@unnumberedsubsubsec Añadir el nombre de los cantantes a los versos
@translationof Adding singers' names to stanzas
@unnumberedsubsubsec Versos con ritmos distintos
@translationof Stanzas with different rhythms
+Con frecuencia, los distintos versos de una canción encajan de formas
+ligeramente diferentes con la misma melodía. Estas variaciones se
+pueden capturar con el uso de @code{\lyricsto}.
+
@subsubheading Ignorar los melismas
Existe la posibilidad de que el texto tenga un melisma en un verso,
Referencia de funcionamiento interno:
@rinternals{LyricText},
@rinternals{StanzaNumber}.
+
+
+@node Canciones
+@subsection Canciones
+@translationof Songs
+
+@menu
+* Referencias para canciones::
+* Hojas guía de acordes::
+@end menu
+
+@node Referencias para canciones
+@unnumberedsubsubsec Referencias para canciones
+@translationof References for songs
+
+Por lo general, las canciones se escriben sobre tres pentagramas con
+la melodía del cantante en el pentagrama superior y dos pentagramas de
+acompañamiento de piano en la parte inferior. La letra del primer
+verso se imprime inmediatamente debajo del pentagrama superior. Si
+existe solamente una pequeña cantidad de versos adicionales, pueden
+imprimirse inmediatamente debajo del primero, pero si hay más versos
+de los que caben cómodamente allí, el segundo verso y siguientes se
+imprimen después de la música, como texto independiente.
+
+Todos los elementos notacionales necesarios para escribir canciones se
+describen completamente en otras secciones de la documentación:
+
+@itemize
+
+@item
+Para montar la disposición de las pautas, véase @ref{Impresión de los
+pentagramas}.
+
+@item
+Para escribir música para piano, véase @ref{Teclados y otros
+instrumentos de varios pentagramas}.
+
+@item
+Para imprimir la letra de una línea melódica, véase @ref{Notación
+común para música vocal}.
+
+@item
+Para posicionar la letra, véase @ref{Colocación de la letra}.
+
+@item
+Para escribir versos véase @ref{Versos}.
+
+@item
+Las canciones se imprimen frecuentemente con los acordes indicados
+mediante cifrado americano (los nombres de los acordes en letras
+mayúsculas) sobre las pautas. Esto se decribe en @ref{Imprimir los
+acordes}.
+
+@item
+Para imprimir diagramas de posiciones de los acordes para
+elacompañamiento de guitarra o para otros instrumentos con trastes en
+el mástil, consulte @qq{Marcados de diagramas de posiciones de acorde}
+dentro de @ref{Notación común para cuerdas con trastes}.
+
+@end itemize
+
+@seealso
+Manual de aprendizaje:
+@rlearning{Canciones}.
+
+Referencia de la notación:
+@ref{Notación común para música vocal},
+@ref{Imprimir los acordes},
+@ref{Impresión de los pentagramas},
+@ref{Teclados y otros instrumentos de varios pentagramas},
+@ref{Colocación de la letra},
+@ref{Versos}.
+
+@node Hojas guía de acordes
+@unnumberedsubsubsec Hojas guía de acordes
+@translationof Lead sheets
+
+Se pueden imprimir hojas guía de acordes combinando partes vocales y
+el @q{modo de acordes}; esta sintaxis se explica en
+
+@ref{Notación de acordes}.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
+
+@seealso
+Referencia de la notación:
+@ref{Chord notation}.
+
+
+@node Música coral
+@subsection Música coral
+@translationof Choral
+
+@cindex anthems
+@cindex partes cantadas
+@cindex oratorios
+@cindex SATB
+
+Esta sección trata los asuntos de notación más directamente
+relacionados con la música coral. Esto incluye los anthems, las
+canciones por partes, los oratorios, etc.
+
+@menu
+* Referencias para música coral::
+* Disposiciones de la partitura para música coral::
+* Voces divididas::
+@end menu
+
+@node Referencias para música coral
+@unnumberedsubsubsec Referencias para música coral
+@translationof References for choral
+
+La notación de música coral se realiza normalmente sobre dos, tres o
+cuatro pentagramas dentro de un grupo de pautas @code{ChoirStaff}. Si
+se necesita un acompañamiento, se sitúa debajo dentro de un grupo
+@code{PianoStaff}, que se suele reducir de tamaño en las obras corales
+@emph{a capella}. Las notas de cada parte vocal se sitúan dentro de
+un contexto @code{Voice}, y cara pentagrama recibe o una sola parte
+vocal (es decir, una @code{Voice}) o un par de partes vocales (es
+decir, dos @code{Voice}s).
+
+Los textos se disponen en contextos @code{Lyrics}, bien debajo de cada
+pauta de música correspondiente, o bien una encima y una debajo de la
+pauta de música, si ésta contiene la música de las dos partes.
+
+En otras partes del manual se describen completamente algunos otros
+temas sobre música coral:
+
+@itemize
+
+@item
+Hay una introducción a la creación de partituras vocales SATB en el
+Manual de aprendizaje, véase @rlearning{Partitura vocal a cuatro voces
+SATB}.
+
+@item
+También en el Manual de aprendizaje hay varias plantillas adecuadas
+para diversos estilos de música coral, véase @rlearning{Conjuntos
+vocales}.
+
+@item
+Para ver más información acerca de @code{ChoirStaff} y
+@code{PianoStaff}, consulte @ref{Agrupar pentagramas}.
+
+@item
+Las figuras con cabezas de formas, como las que se usan en la notación
+del estilo Arpa Sacra y otros similares, se describen en @ref{Cabezas
+de notas con formas diversas}.
+
+@item
+Cuando dos partes vocales comparten un pentagrama, las plicas,
+ligaduras, etc. de la parte aguda se orientan hacia arriba, y los de
+la parte grave hacia abajo. Para hacerlo, utilice @code{\voiceOne} y
+@code{\voiceTwo}. Véase @ref{Polifonía en un solo pentagrama}.
+
+@end itemize
+
+@predefined
+@code{\oneVoice},
+@code{\voiceOne},
+@code{\voiceTwo}.
+
+@seealso
+Manual de aprendizaje:
+@rlearning{Partitura vocal a cuatro voces SATB},
+@rlearning{Conjuntos vocales}.
+
+Referencia de la notación:
+@ref{Orden de disposición de los contextos},
+@ref{Agrupar pentagramas},
+@ref{Cabezas de notas con formas diversas},
+@ref{Polifonía en un solo pentagrama}.
+
+Referencia de funcionamiento interno:
+@rinternals{ChoirStaff},
+@rinternals{Lyrics},
+@rinternals{PianoStaff}.
+
+@node Disposiciones de la partitura para música coral
+@unnumberedsubsubsec Disposiciones de la partitura para música coral
+@translationof Score layouts for choral
+
+La música coral que contiene cuatro pentagramas, con o sin
+acompañamiento de piano, se suele disponer con dos sistemas por
+página. Dependiendo del tamaño de la página, conseguirlo puede
+requerir cambios en ciertos ajustes predeterminados. Se deben tener
+en cuenta los siguientes ajustes:
+
+@itemize
+
+@item
+Se puede modificar el tamañod global de pentagrama para alterar el
+tamaño general de los elementos de la partitura. Véase
+@ref{Establecer el tamaño del pentagrama}.
+
+@item
+Las diferentes distancias entre sistemas, pentagramas y líneas de
+texto se pueden ajustar de manera independiente. Véase @ref{Espaciado
+vertical}.
+
+@item
+Se pueden imprimir las dimensiones de las variables de disposición
+verticales como ayuda para el ajuste del espaciado vertical. Esta y
+otras posibilidades para hacer encajar la música en un número de
+páginas menor, se describen en @ref{Encajar la música en menos
+páginas}.
+
+@item
+Si el número de sistemas po página cambia de uno a dos, es costumbre
+indicarlo mediante una marca separadora de sistemas entre los dos
+sistemas. Véase @ref{Separación de sistemas}.
+
+@item
+Para ver más detalles sobre otras propiedades de formateo de las
+páginas, consulte @ref{Formateo de las páginas}.
+
+@end itemize
+
+
+Las indicaciones dinámicas se colocan por omisión debajo del
+pentagrama, pero en la música coral se suelen situar encima del
+pentagrama para evitar las colisiones con el texto. La instrucción
+predefinida @code{\dynamicUp} hace esta tarea para las indicaciones
+dinámicas en un único contexto @code{Voice}. Si hay muchos contextos
+de voz, esta instrucción predefinida tendría que colocarse en cada uno
+de ellos. Como alternativa, se puede usar su forma expandida para
+poner las indicaciones dinámicas de toda la partitura encima de sus
+pautas respectivas, como se muestra aquí:
+
+@lilypond[verbatim,quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice {
+ \relative c'' { g4\f g g g }
+ }
+ }
+ \new Staff {
+ \new Voice {
+ \relative c' { d4 d d\p d }
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ }
+ }
+}
+@end lilypond
+
+@predefined
+@code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
+
+@seealso
+Referencia de la notación:
+@ref{Cambiar el espaciado},
+@ref{Mostrar el espaciado},
+@ref{Encajar la música en menos páginas},
+@ref{Formateo de las páginas},
+@ref{Disposición de la partitura},
+@ref{Separación de sistemas},
+@ref{Establecer el tamaño del pentagrama},
+@ref{Utilizar una voz adicional para los saltos de línea},
+@ref{Espaciado vertical}.
+
+Referencia de funcionamiento interno:
+@rinternals{VerticalAxisGroup},
+@rinternals{StaffGrouper}.
+
+
+@node Voces divididas
+@unnumberedsubsubsec Voces divididas
+@translationof Divided voices
+
+@cindex voces divididas
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-arpeggiobracket-to-make-divisi-more-visible.ly}
+
+@seealso
+Referncia de la notación:
+@ref{Expresiones como líneas}.
+
+
+@node Ópera y musicales
+@subsection Ópera y musicales
+@translationof Opera and stage musicals
+
+La música, letra y diálogos de las óperas y musicales se disponen
+normalmente de una o más de las siguientes formas:
+
+@itemize
+
+@item
+Una @emph{Partitura del director} que contiene todas las partes
+orquestales y vocales, junto a notas guía del libreto si existen
+pasajes hablados.
+
+@item
+@emph{Particellas orquestales} que contienen la música de los
+instrumentos individuales de la orquesta o banda.
+
+@item
+Una @emph{Partitura vocal} que contiene todas las partes vocales con
+acompañamiento de piano. El acompañamiento es normalmente una
+reducción de orquesta, y en este caso es frecuente indicar el nombre
+del instrumento original de la orquesta. Las partituras vocales a
+veces incluyen indicaciones de escena y notas guía del libreto.
+
+@item
+Un @emph{Libro vocal} que contiene sólo las partes vocales (sin
+acompañamiento), a veces en combinación con el libreto.
+
+@item
+Un @emph{Libreto} que contiene los diálogos completos que normalmente
+hay en los musicales, junto a la letra de las partes cantadas. Suelen
+incluirse también las indicacioens de escena. Se puede utilizar
+LilyPond para tipografiar libretos, pero dado que no contienen música,
+puede ser preferible algún método alternativo.
+
+@end itemize
+
+En la sección de referencias que aparece a continuación están
+relacionadas las secciones de la documentación de lilyPond que se
+ocupan de los temas necesarios para crear partituras en los estilos
+habituales de la ópera y los musicales. Después aparecen secciones
+que cubren las técnicas peculiares de la tipografía musical de las
+partituras de ópera y de musicales.
+
+@menu
+* Referencias para ópera y musicales::
+* Nombres de los perasonajes::
+* Guías musicales::
+* Música hablada::
+* Diálogos encima de la música::
+@end menu
+
+@node Referencias para ópera y musicales
+@unnumberedsubsubsec Referencias para ópera y musicales
+@translationof References for opera and stage musicals
+@itemize
+
+@item
+Una partitura de director contiene muchos pentagramas y legras
+agrupados. En @ref{Agrupar pentagramas} se explican maneras de
+agrupar pentagramas. Para anidar unos grupos dentro de otros,
+consulte @ref{Grupos de pentagramas anidados}.
+
+@item
+La impresión de pentagramas vacíos en las partituras del director y
+vocales se suele inhibir. Para crear estas partituras, conocidas como
+@qq{Partituras francesas} consulte @ref{Ocultar pentagramas}.
+
+@item
+La escritura de partituras orquestales se estudia en @ref{Escritura de
+las particellas}. Pueden ser de relevancia otras secciones del
+capítulo de Notación especializada, dependiendo de la orquestación
+utilizada. Muchos instrumentos son transpositores, consulte
+@ref{Transposición de los instrumentos}.
+
+@item
+Si el número de sistemas por página varía de una a otra página, es
+costumbre separar los sistemas con una marca separadora de sistemas. Véase
+See @ref{Separación de sistemas}.
+
+@item
+Para ver detalles acerca de otras propiedades de formateo de las
+páginas, consulte @ref{Formateo de las páginas}.
+
+@item
+Las notas guía de los diálogos y las instrucciones de escena se pueden
+insertar con elementos de marcado. Véase @ref{Texto}. Se pueden
+insertar indicaciones de escena extensas con una sección de marcado
+independiente entre dos bloques @code{\score}. Véase @ref{Texto
+separado}.
+
+@end itemize
+
+@seealso
+Glosario musical:
+@rglos{Frenched score},
+@rglos{Frenched staves},
+@rglos{transposing instrument}.
+
+Referencia de la notación:
+@ref{Agrupar pentagramas},
+@ref{Ocultar pentagramas},
+@ref{Transposición de los instrumentos},
+@ref{Grupos de pentagramas anidados},
+@ref{Formateo de las páginas},
+@ref{Separación de sistemas},
+@ref{Transposición},
+@ref{Escritura de las particellas},
+@ref{Escritura del texto}.
+
+
+@node Nombres de los perasonajes
+@unnumberedsubsubsec Nombres de los perasonajes
+@translationof Character names
+
+@cindex personajes, nombres
+@cindex nombres de personajes
+
+Se suene mostrar los nombres de los personajes a la izquierda del
+pentagrama cuando éste está dedicado a dicho personaje solamente. Se
+puede utilizar la propiedad del nombre del instrumento para este
+propósito.
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \set Staff.instrumentName = #"Kaspar"
+ \set Staff.shortInstrumentName = #"Kas"
+ \relative c' {
+ \clef "G_8"
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \set Staff.instrumentName = #"Melchior"
+ \set Staff.shortInstrumentName = #"Mel"
+ \clef "bass"
+ \relative c' {
+ a4 a a a
+ a4 a a a
+ }
+ }
+ >>
+}
+@end lilypond
+
+Cuando dos o más personajes comparten un pentagrama, el nombre del
+personaje se suele imprimir encima del pentagrama al principio de cada
+sección correspondiente a dicho personaje. Eesto se puede hacer con
+elementos de marcado. Con frecuencia se usa un tipo de letra especial
+para este propósito.
+
+@lilypond[quote,verbatim,relative=1]
+\clef "G_8"
+c4^\markup \fontsize #1 \smallCaps Kaspar
+c c c
+\clef "bass"
+a4^\markup \fontsize #1 \smallCaps Melchior
+a a a
+\clef "G_8"
+c4^\markup \fontsize #1 \smallCaps Kaspar
+c c c
+@end lilypond
+
+Como alternativa, si hay muchos cambios de personajes, puede ser más
+fácil establecer definiciones de @qq{instrumentos} para cada
+instrumento en el nivel superior de la sintaxis, de forma que se puede
+usar @code{\instrumentSwitch} para indicar cada uno de los cambios.
+
+@lilypond[quote,verbatim]
+\addInstrumentDefinition #"kaspar"
+ #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
+ (shortInstrumentName . "Kas.")
+ (clefGlyph . "clefs.G")
+ (clefOctavation . -7)
+ (middleCPosition . 1)
+ (clefPosition . -2)
+ (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
+ (midiInstrument . "voice oohs"))
+
+\addInstrumentDefinition #"melchior"
+ #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
+ (shortInstrumentName . "Mel.")
+ (clefGlyph . "clefs.F")
+ (clefOctavation . 0)
+ (middleCPosition . 6)
+ (clefPosition . 2)
+ (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
+ (midiInstrument . "voice aahs"))
+
+\relative c' {
+ \instrumentSwitch "kaspar"
+ c4 c c c
+ \instrumentSwitch "melchior"
+ a4 a a a
+ \instrumentSwitch "kaspar"
+ c4 c c c
+}
+@end lilypond
+
+@seealso
+Referencia de la notación:
+@ref{Nombres de instrumentos},
+@ref{Funciones de Scheme},
+@ref{Texto},
+@ref{Instrucciones de marcado de texto}.
+
+Extender LilyPond:
+@rextend{Construcción de elementos de marcado en Scheme}.
+
+@node Guías musicales
+@unnumberedsubsubsec Guías musicales
+@translationof Musical cues
+
+@cindex guías musicales
+@cindex musicales, guías
+
+Se pueden insertar guías musicales en las partituras vocales, en los
+libros vocales y en las partes orquestales para indicar qué música de
+otra parte precede inmediatamente a una entrada. Asimismo, las guías
+se suelen insertar en la reducción de piano en las partituras vocales
+para indicar lo que está tocando cada parte orquestas. Esto sirve de
+ayuda al director cuando no está disponible una partitura del
+director.
+
+El mecanismo básico para insertar guías se explica de forma exhaustiva
+en el texto principal, véase @ref{Citar otras voces} yand
+@ref{Formateo de las notas guía}. Pero cuando se deben insertar
+muchas guías, por ejemplo, como ayuda para el director en una
+partitura vocal, el nombre del instrumento se debe colocar
+cuidadosamente justo antes del comienzo de las notas citadas, y cerca
+de ellas. El siguiente ejemplo muestra cómo se hace esto. Observe
+que el nombre del grob para sobreescribir la propiedad del instrumento
+citado es @code{InstrumentSwitch}.
+
+@lilypond[quote,verbatim]
+flute = \relative c'' {
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+pianoRH = \relative c'' {
+ c4. g8
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument above the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #UP
+ \set CueVoice.instrumentCueName = "Flute"
+ \cueDuring "flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ \new PianoStaff <<
+ \new Staff {
+ \pianoRH
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+}
+@end lilypond
+
+Si un instrumento transpositor se está citando, la parte instrumental
+debe especificar la tonalidad de manera que la conversión de las notas
+citadas se realice automáticamente. El ejemplo de abajo muestra esta
+transposición para un clarinete en Si bemol. Las notas de este
+ejemplo son bajas en el pentagrama, por lo que se especifica
+@code{#DOWN} en @code{\cueDuring} (para que las plicas se orienten
+hacia abajo) y el nombre del instrumento se coloca debajo del
+pentagrama. Observe también que la voz de la mano derecha del piano
+está declarada explíctamente. Esto es así porque las notas citadas en
+este ejemplo comienzan al principio del primer compás y en caso
+contrario produciría que todas las notas de la mano derecha del piano
+se situaran dentro de un contexto @code{CueVoice}.
+
+@lilypond[quote,verbatim]
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument below the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
+ \set CueVoice.instrumentCueName = "Clar."
+ \cueDuring "clarinet" #DOWN { c4. g8 }
+ g4 bes4
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ <<
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
+@end lilypond
+
+A partir de estos dos ejemplos debería quedar claro que insertar
+muchas notas guía en una partitura vocal puede ser extremadamente
+tedioso, y las notas de la parte de piano quedarían entorpecidas por
+la gran cantidad de sobreescrituras de propiedades. Sin embargo, como
+muestra el siguiente fragmento de código, es posible definir una
+función musical para reducir la cantidad de texto que se teclea y para
+hacer que las notas del piano estén más claras.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{adding-orchestral-cues-to-a-vocal-score.ly}
+
+@seealso
+Glosario musical:
+@rglos{cue-notes}.
+
+Referencia de la notación:
+@ref{Alineación de objetos},
+@ref{Dirección y posición},
+@ref{Formateo de las notas guía},
+@ref{Citar otras voces},
+@ref{Uso de las funciones musicales}.
+
+Fragmentos de código:
+@rlsr{vocal-music}.
+
+Referencia de funcionamiento interno:
+@rinternals{InstrumentSwitch},
+@rinternals{CueVoice}.
+
+@knownissues
+@code{\cueDuring} inserta automáticamente un contexto @code{CueVoice}
+y todas las notas guía se colocan dentro de este contexto. Ello
+significa que no es posible tener dos secuencias de notas guía
+superpuestas mediante esta técnica. Las secuencias superpuestas se
+podrían introducir declarando explícitamente contextos @code{CueVoice}
+separados y usando @code{\quoteDuring} para extraer e insertar las
+notas citadas.
+
+
+@node Música hablada
+@unnumberedsubsubsec Música hablada
+@translationof Spoken music
+
+@cindex parlato
+@cindex Sprechgesang
+
+Efectos tales como el @q{parlato} o el @q{Sprechgesang} requieren que
+los intérpretes hablen sin altura definida pero con el ritmo adecuado;
+la notación de estos estilos se realiza mediante figuras con la cabeza
+en forma de cruz, como se muestra en @ref{Cabezas de nota especiales}.
+
+@c TODO add "marking-notes-on-spoken-parts" snippet -vv
+@c add "showing the rhythm of a melody" snip
+@c add "one staff-line notation"
+@c add "improvisation" ref
+@c add "lyrics independents of notes" ref
+
+@node Diálogos encima de la música
+@unnumberedsubsubsec Diálogos encima de la música
+@translationof Dialogue over music
+
+Continuará...
+
+
+@node Cánticos salmos e himnos
+@subsection Cánticos salmos e himnos
+@translationof Chants psalms and hymns
+
+@cindex cánticos
+@cindex salmos
+@cindex himnos
+@cindex música religiosa
+
+La música y la letra de los cánticos, salmos e himnos suelen seguir un
+formato bien establecido dentro de cualquier iglesia en particular.
+Aunque los formatos pueden diferir de una iglesia a otra, los
+problemas de tipografiado que surgen son bastante similares, y se
+estudian en esta sección.
+
+@menu
+* Referencias para cánticos y salmos::
+* Preparar un cántico::
+* Puntuación de un salmo::
+* Compases parciales en melodías de himno::
+@end menu
+
+@node Referencias para cánticos y salmos
+@unnumberedsubsubsec Referencias para cánticos y salmos
+@translationof References for chants and psalms
+
+El tipografiado del canto gregoriano en distintos estilos de notación
+antigua se describe en @ref{Notación antigua}.
+
+@seealso
+Referncia de la notación:
+@ref{Notación antigua}.
+
+
+@node Preparar un cántico
+@unnumberedsubsubsec Preparar un cántico
+@translationof Setting a chant
+
+La preparación moderna de los cánticos utiliza notación moderna con un
+número variable de elementos tomados de la notación antigua. Algunos
+de los elementos y métodos que considerar se presentan aquí.
+
+Los cánticos usan con frecuencia figuras negras sin plica para indicar
+la altura, tomando las duraciones del ritmo hablado del texto.
+
+@lilypond[verbatim,quote]
+stemOff = { \override Staff.Stem #'transparent = ##t }
+
+\relative c' {
+ \stemOff
+ a'4 b c2 |
+}
+
+@end lilypond
+
+Los cánticos con frecuencia omiten las líneas divisorias o utilizan
+barras de compás recortadas o discontinuas para indicar pausas en la
+música. Para omitir todas las barras de compás de todos los
+pentagramas, suprima completamente el grabador de barras:
+
+@lilypond[verbatim,quote]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
+
+Las líneas divisorias también se pueden quitar pentagrama a
+pentagrama:
+
+@lilypond[verbatim, quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff
+ \with { \remove Bar_engraver } {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+}
+@end lilypond
+
+Para suprimir las líneas divisorias sólo de una sección de música,
+trátela como si fuera una cadencia. Si la sección es larga, podría
+necesitar insertar líneas divisorias @qq{mudas} con @code{\bar ""}
+para indicar dónde se debe producir el salto de línea.
+
+@lilypond[verbatim,quote,relative=2]
+a4 b c2 |
+\cadenzaOn
+a4 b c2
+a4 b c2
+\bar ""
+a4 b c2
+a4 b c2
+\cadenzaOff
+a4 b c2 |
+a4 b c2 |
+@end lilypond
+
+Los silencios o pausas en los cánticos pueden indicarse mediante
+barras de compás modificadas.
+
+@lilypond[verbatim, quote,relative=2]
+a4
+\cadenzaOn
+b c2
+a4 b c2
+\bar "'"
+a4 b c2
+a4 b c2
+\bar ":"
+a4 b c2
+\bar "dashed"
+a4 b c2
+\bar "||"
+@end lilypond
+
+Como alternativa, se usa a veces la notación del canto gregoriano para
+las pausas o silencios, aunque el resto de la ntoación sea moderna.
+Este ejemplo utiliza una marca @code{\breathe} modificada:
+
+@lilypond[verbatim,quote]
+divisioMinima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaior = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaxima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+finalis = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+
+\score {
+ \relative c'' {
+ g2 a4 g
+ \divisioMinima
+ g2 a4 g
+ \divisioMaior
+ g2 a4 g
+ \divisioMaxima
+ g2 a4 g
+ \finalis
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
+
+Los cánticos suelen omitir la indicación de compás y con frecuencia
+omiten la clave también.
+
+@lilypond[verbatim,quote]
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \remove Clef_engraver
+ }
+ }
+}
+@end lilypond
+
+Los cánticos de salmos en la tradición anglicana suelen ser
+@emph{sencillos}, con siete compases de música, o @emph{dobles}, con
+dos períodos de siete compases. cada grupo de siete compases se
+divide en dos mitades, que corresponden a las dos mitades de cada
+verso, normalmente separados mediante una dobre línea divisoria. Sólo
+se utilizan redondas y blancas. El primer compás de cada mitad
+siempre contiene un único acorde en redondas. Ésta es la @qq{nota de
+recitado}. Los cánticos se suelen centrar sobre la página.
+
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
+
+AltoMusic = \relative c' {
+ e1 | g2 g | f1 |
+ f1 | f2 e | d d | e1 |
+}
+
+TenorMusic = \relative a {
+ c1 | c2 c | c1 |
+ d1 | g,2 g | g g | g1 |
+}
+
+BassMusic = \relative c {
+ c1 | e2 e | f1 |
+ d1 | b2 c | g' g | c,1 |
+}
+
+global = {
+ \time 2/2
+}
+
+% Use markup to center the chant on the page
+\markup {
+ \fill-line {
+ \score { % centered
+ <<
+ \new ChoirStaff <<
+ \new Staff <<
+ \global
+ \clef "treble"
+ \new Voice = "Soprano" <<
+ \voiceOne
+ \SopranoMusic
+ >>
+ \new Voice = "Alto" <<
+ \voiceTwo
+ \AltoMusic
+ >>
+ >>
+ \new Staff <<
+ \clef "bass"
+ \global
+ \new Voice = "Tenor" <<
+ \voiceOne
+ \TenorMusic
+ >>
+ \new Voice = "Bass" <<
+ \voiceTwo
+ \BassMusic
+ >>
+ >>
+ >>
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 2)
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+ } % End score
+ }
+} % End markup
+@end lilypond
+
+Otros enfoques para la preparación de este cántico se muestran en el
+primero de los siguientes fragmentos de código.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{chant-or-psalms-notation.ly}
+
+Los cánticos y otros textos litúrgicos pueden disponerse de una forma
+más libre, y posiblemente usen elementos notacionales tomados de la
+música antigua. Con frecuencia la letra se imprime por debajo y
+alineada con las notas. En este caso, las notas se disponen
+espaciadas de acuerdo con las sílabas en vez de hacerlo con las
+duraciones de las notas.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
+
+@seealso
+Manual de aprendizaje:
+@rlearning{Visibilidad y color de los objetos},
+@rlearning{Conjuntos vocales}.
+
+Referencia de la notación:
+@ref{Notación antigua},
+@ref{Barras de compás},
+@ref{Modificar los complementos (plug-ins) de contexto},
+@ref{Tipografiado del canto gregoriano},
+@ref{Música sin compasear},
+@ref{Visibilidad de los objetos}.
+
+
+@node Puntuación de un salmo
+@unnumberedsubsubsec Puntuación de un salmo
+@translationof Pointing a psalm
+
+El texto de un salmo anglicano se suele imprimir en versos separados
+debajo del canto.
+
+Los cantos sencillos (con siete compases) se repiten para cada verso.
+Los cantos dobles (con 14 compases) se repiten para cada par de
+versos. Se insertan marcas dentro del texto para indicar la forma en
+que encajan con el canto. Cada verso se divide en dos mitades. Se
+suele utilizar un signo de dos puntos para indicar esta división.
+Esto corresponde a la doble línea divisoria de la música. El texto
+antes de los dos puntos se canta con los tres primeros compases de la
+música; el texto después de los dos puntos se canta con los últimos
+cuatro compases.
+
+Se insertan líneas de compás simples (o en algunos casos una coma
+invertida u otro símbolo similar) entre el texto para indicar dónde
+caen las líneas divisorias de la música. En el modo de marcado, se
+puede introducir una línea de compás simple con el símbolo de
+comprobación de compás, la barra vertical, @code{|}.
+
+@lilypond[verbatim,quote]
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing | unto the | Lord : let }
+ \line { us heartily rejoice in the | strength of | our }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+otros símbolos pueden requerir glifos de las fuentes tipográficas
+@code{fetaMusic}. Para ver más detalles, consulte @ref{Tipografías}.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing \tick unto the \tick Lord : let }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+Donde hay una redonda en un compás, todo eltexto que corresponde a ese
+compás se recita sobre esa nota en el ritmo de la palabra. Donde hay
+dos notas en un compás, suele haber solamente una o dos sílabas
+correspondientes. Si hay más de dos sílabas, se suele insertar un
+punto para indicar dónde se produce el cambio de nota.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us sing \tick unto \dot the \tick Lord : let
+ }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+En algunos salterios (libros de salmos) se usa un asterisco para
+indicar un corte en una sección recitada en lugar de una coma y las
+sílabas acentuadas o ligeramente alargadas se indican en estilo
+negrita.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { Today if ye will hear his voice * }
+ \line {
+ \concat { \bold hard en }
+ | not your | hearts : as in the pro-
+ }
+ \line { vocation * and as in the \bold day of tempt- | }
+ \line { -ation | in the | wilderness. }
+ }
+ }
+ }
+}
+@end lilypond
+
+En otros salterios se coloca un acento sobre la sílaba para indicar el
+énfasis.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us \concat {
+ si \combine \tick ng
+ }
+ | unto the | Lord : let
+ }
+ \line {
+ us heartily \concat {
+ rejo \combine \tick ice
+ }
+ in the | strength of | our
+ }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+El uso del marcado para centrar texto y para disponer las líneas en
+columnas se describe en @ref{Formatear el texto}.
+
+Casi todos estos elementos se muestran en uno u otro de los dos versos
+en la plantilla, véase @qq{Salmos} en @rlearning{Conjuntos vocales}.
+
+@seealso
+Manual de aprendizaje:
+@rlearning{Conjuntos vocales}.
+
+Referencia de la notación:
+@ref{Tipografías},
+@ref{Formatear el texto}.
+
+
+@node Compases parciales en melodías de himno
+@unnumberedsubsubsec Compases parciales en melodías de himno
+@translationof Partial measures in hymn tunes
+
+COn frecuencia las melodías de himno comienzan y terminan cada línea
+de música con compases parciales de forma que cada línea de música
+corresponde exactamente con una línea de texto. Esto requiere una
+instrucción @code{\partial} al principio de la música e instrucciones
+@code{\bar "|"} ó @code{\bar "||"} al final de cada línea.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{hymn-template.ly}
+
+
+@node Música vocal antigua
+@subsection Música vocal antigua
+@translationof Ancient vocal music
+
+Está contemplada la música vocal en estilo de tipografía antiguo, como
+se explica en @ref{Notación antigua}.
+
+@c TODO
+
+@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
+@c and "Transcription of Ancient music with incipit" snippet. -vv
+
+@seealso
+Referencia de la notación:
+@ref{Notación antigua}.
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 1d3fcd871b4312feb27047b4dda0d45bd4b55453
+ Translation of GIT committish: 671a0bcf734837eb45a942d377ac81e5d1450496
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@menu
* Notación común para instrumentos de viento::
* Gaita::
+* Instrumentos de viento madera::
@end menu
@node Notación común para instrumentos de viento
@translationof Fingerings
Todos los instrumentos de viento aparte del trombón requieren el uso
-de los distintos dedos para producir cada nota.
+de los distintos dedos para producir cada nota. En los fragmentos
+de código que aparecen a continuación pueden verse algunos ejemplos
+de ayudas a la digitación.
+
+Se pueden producir diagramas de posiciones para instrumentos
+de viento madera,como se describe en
+@ref{Diagramas de posiciones para viento madera}.
@snippets
@seealso
+Referencia de la notación:
+@ref{Diagramas de posiciones para viento madera}.
+
Fragmentos de código:
@rlsr{Winds}.
@seealso
Fragmentos de código:
@rlsr{Winds}.
+
+@node Instrumentos de viento madera
+@subsection Instrumentos de viento madera
+@translationof Woodwinds
+
+Esta sección describe la notación específica para instrumentos de
+viento madera.
+
+@menu
+* Diagramas de posiciones para viento madera::
+@end menu
+
+@node Diagramas de posiciones para viento madera
+@subsubsection Diagramas de posiciones para viento madera
+@translationof Woodwind diagrams
+
+Se pueden utilizar diagramas de posiciones para los instrumentos de
+viento madera para indicar la digitación que usar al tocar ciertas
+notas. Los diagramas para instrumentos de viento madera están
+disponibles para la mayor parte de los instrumentos de madera.
+
+Se dispone de diagramas de posiciones para las maderas para los
+siguientes instrumentos:
+
+@itemize
+@item flautín
+@item flauta
+@item oboe
+@item clarinete
+@item clarinete bajo
+@item saxofón
+@item fagot
+@item contrafagot
+@end itemize
+
+@noindent
+En el ejemplo de abajo se muestran los diagramas y los nombres de
+Scheme de los instrumentos.
+
+Los diagramas se crean como elementos de marcado:
+
+
+@lilypond[verbatim, quote, relative=2]
+c1^ \markup \woodwind-diagram #'piccolo #'((lh . (gis))
+ (cc . (one three))
+ (rh . (ees)))
+@end lilypond
+
+Las llaves pueden estar abiertas, parcialmente cubiertas, con el
+anillo pulsado o totalmente apretadas:
+
+@lilypond [verbatim, quote, relative=2]
+\textLengthOn
+c1^ \markup \center-column {
+ "one quarter"
+ \woodwind-diagram #'flute #'((cc . (one1q))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "one half"
+ \woodwind-diagram #'flute #'((cc . (one1h))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "three quarter"
+ \woodwind-diagram #'flute #'((cc . (one3q))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "ring"
+ \woodwind-diagram #'flute #'((cc . (oneR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "full"
+ \woodwind-diagram #'flute #'((cc . (oneF two))
+ (lh . ())
+ (rh . ()))
+}
+@end lilypond
+
+Los trinos se indican en los diagramas de viento madera como llaves
+sombreadas:
+
+@lilypond [verbatim, quote, relative=2]
+c1^ \markup \woodwind-diagram #'bass-clarinet
+ #'((cc . (threeT four))
+ (lh . ())
+ (rh . (b fis)))
+@end lilypond
+
+Se pueden representar una amplia variedad de trinos:
+
+@lilypond [verbatim, quote, relative=2]
+\textLengthOn
+c1^ \markup \center-column {
+ "one quarter to ring"
+ \woodwind-diagram #'flute #'((cc . (one1qTR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "ring to shut"
+ \woodwind-diagram #'flute #'((cc . (oneTR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "ring to open"
+ \woodwind-diagram #'flute #'((cc . (oneRT))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "open to shut"
+ \woodwind-diagram #'flute #'((cc . (oneT))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "one quarter to three quarters"
+ \woodwind-diagram #'flute #'((cc . (one1qT3q))
+ (lh . ())
+ (rh . ()))
+}
+@end lilypond
+
+La lista de todas las tonalidades y ajustes posibles para un
+instrumento dado, se pueden relacionar sobre la consola o en el
+archivo de registro de salida, aunque no se pueden mostrar en la
+salida de música impresa:
+
+@lilypond[verbatim, quote]
+
+#(print-keys-verbose 'flute)
+
+@end lilypond
+
+Se pueden crear diagramas nuevos siguiendo los patrones que están en
+@file{scm/define-woodwind-diagrams.scm} y en
+@file{scm/display-woodwind-diagrams.scm}. Sin embargo, esto requiere
+conocimientos de Scheme y quizá no esté al alcance de todos los
+usuarios.
+
+@predefined
+@endpredefined
+
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{woodwind-diagrams-listing.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{graphical-and-text-woodwind-diagrams.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{changing-the-size-of-woodwind-diagrams.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{woodwind-diagrams-key-lists.ly}
+
+@seealso
+
+Archivos de inicio:
+@file{scm/define-woodwind-diagrams.scm},
+@file{scm/display-woodwind-diagrams.scm}.
+
+Fragmentos de código:
+@rlsr{Winds}.
+
+Referencia de funcionamiento interno:
+@rinternals{TextScript},
+@rinternals{instrument-specific-markup-interface}.
+
+@knownissues
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los símbolos específicos de acordeón discanto se escriben mediante
@code{\\markup}. Se puede trucar la colocación vertical de los
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al escribir un bajo cifrado, existe una forma de especificar si
queremos que las cifras se sitúen encima o debajo de las notas del
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Añadir un ámbito por voz"
texidoces = "
Se puede añadir un ámbito por cada voz. En este caso, el ámbito se
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al añadir un pentagrama nuevo en un salto de línea, por desgracia
se añade un espacio adicional al final de la línea antes del salto
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede añadir (posiblemente de forma temporal) un pentagrama
nuevo una vez que la pieza ha comenzado.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para añadir indicaciones de línea divisoria dentro del contexto de
los nombres de acorde @code{ChordNames}, incluya el grabador
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La sintaxis de LilyPond puede implicar muchas colocaciones poco
comunes para los paréntesis, corchetes, etc, que a veces se tienen
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Mediante la utilización de las potentes herramientas preconfiguradas
como la función @code{\\drummode} y el contexto @code{DrumStaff}, la
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para añadir digitaciones a las tablaturas, utilice una combinación de
@code{\\markup} y @code{\\finger}.
--- /dev/null
+%% Translation of GIT committish: 8b9a694a483632437fb5110b3531074ddb31c04a
+
+ texidoces = "
+ Este ejemplo muestra una forma de simplificar la adición de muchas
+notas guía orquestales a la reducción de piano en una partitura vocal.
+La función musical @code{\\cueWhile} toma cuatro argumentos: la música
+de la que se toma la cita, como viene definida por @code{\\addQuote},
+el nombre que insertar antes de las notas guía, y después @code{#UP} o
+@code{#DOWN} para especificar @code{\\voiceOne} con el nombre encima
+del pentagrama o bien @code{\\voiceTwo} con el nombre debajo del
+pentagrama, y finalmente la música de piano con la que las notas guía
+deben aparecer en paralelo. El nombre del instrumento citado se
+posiciona a la izquierda de las notas guía. Se pueden citar muchos
+pasajes como guía, pero no se pueden superponer en el tiempo entre
+ellos.
+
+"
+
+ doctitlees = "Añadir notas guía orquestales a una partitura vocal"
+
+
+
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La función @code{\\parenthesize} es un truco especial que encierra
objetos entre paréntesis. El grob asociado es @code{ParenthesesItem}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Con algo de código de Scheme, se puede añadir fácilmente la fecha
actual a una partitura.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El grabador @code{Volta_engraver} reside de forma predeterminada
dentro del contexto de @code{Score}, y los corchetes de la repetición
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Voces adicionales para evitar colisiones"
texidoces = "
En ciertos casos de polifonía compleja, se necesitan voces adicionales
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede ajustar la separación entre las notas de adorno utilizando la
propiedad @code{spacing-increment} de @code{Score.GraceSpacing}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este fragmento de código muestra cómo situar la línea de base de la
letra más cerca del pentagrama.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Puede ser necesario trucar la propiedad
@code{shortest-duration-space} para poder ajustar el tamaño de las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La alineación horizontal de los nombres de instrumento se puede
trucar modificando la propiedad @code{Staff.InstrumentName
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los números de compás se alinean de forma predeterminada por la
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si están especificadas, las marcas de texto se pueden alinear con
objetos de notación distintos a las líneas divisorias. Entre estos
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las cifras de digitación orientadas verticalmente se colocan de forma
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede variar la longitud de las plicas de las figuras unidas por
una barra mediante la sobreescritura de la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Ámbitos con varias voces"
texidoces = "
La adición del grabador @code{Ambitus_engraver} al contexto de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
De forma predeterminada se añaden corchetes de análisis sencillos
debajo del pentagrama. El ejemplo siguiente muestra una manera de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Aquí se muestran muchos de (¿o quizá todos?) los símbolos que
están contemplados por la capacidad de LilyPond para la música
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este ejemplo muestra cómo hacer una transcripción moderna de canto
gregoriano. El canto gregoriano no tiene compás ni plicas; utiliza
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al transcribir música mensural, es útil un «incipit» al compienzo
de la pieza para indicar la tonalidad y el tempo
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las indicaciones de compás también se pueden grabar en estilo antiguo.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Aplicar estilos de cabeza según la nota de la escala"
texidoces = "
La propiedad @code{shapeNoteStyles} se puede usar para definir varios
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para las improvisaciones o @emph{taqasim} que son libres durante unos
momentos, se puede omitir la indicación de compás y se puede usar
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede hacer que una ligadura de expresión sea asimétrica para
adaptarse mejor a un patrón asimétrico de notas.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden subdividir las barras automáticamente. Estableciendo la
propiedad @code{subdivideBeams}, las barras se subdividen en
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Las digitaciones y números de cuerda que se aplican a las notas
+individuales evitan automáticamente las barras y las plicas de las
+figuras, pero esto no es cierto de forma predeterminada para las
+digitaciones y números de cuerda que se aplican sobre notas
+individuales de acordes. El ejemplo siguiente muestra cómo se puede
+sobreescribir este comportamiento predeterminado.
+
+"
+ doctitlees = "Evitar colisiones con digitaciones de acordes"
+
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las reglas de final de barra especificadas en el contexto
@code{Score} se aplican a todos los pentagramas, pero se pueden
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
No está especificada ninguna agrupación predeterminada automática
de las barras para el compás de 7/8, de forma que si se requieren
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Normalmente están prohibidos los saltos de línea si las barras
atraviesan las líneas divisorias. Se puede cambiar este
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La instrucción @code{\\whiteout} intercala un rectángulo blanco
debajo de un elemento de marcado. Este rectángulo blanco no tapa
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para hacer invisibles partes de un regulador de crescendo, se usa
el método de dibujar un rectángulo blanco encima de la parte
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
A veces se denota una «cesura» mediante una doble marca de respiración
parecida a las vías del tren, con un calderón encima. Este fragmento
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este ejemplo proporciona una función para tipografiar un regulador con
texto por debajo, como @qq{molto} o @qq{poco}. El ejemplo ilustra
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para hacer más pequeño el círculo de @code{\\flageolet} (armónico)
utilice la siguiente función de Scheme.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden modificar notas individuales de un acorde con la instrucción
@code{\\tweak}, alterando la propiedad @code{font-size}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se insertan automáticamente barras en ángulo cuando se detecta un
intervalo muy grande entre las notas. Se puede hacer un ajuste
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede establecer el separador entre las distintas partes del
nombre de un acorde para que sea cualquier elemento de marcado.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Cambiar la forma de los silencios multicompás"
texidoces = "
Si hay diez compases de silencio o menos, se imprime en el pentagrama
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Los diagramas de posiciones de acordes se pueden orientar de tres
+formas. De manera predeterminada se alinena la cuerda o traste
+superior en las distintas alineaciones.
+
+
+"
+
+ doctitlees = "Modificar la orientación de los trastes"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al producir una salida MIDI, el comportamiento predeterminado es
que cada pentagrama representa un canal MIDI, con todas las voces
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al utilizar la posibilidad de combinación automática de partes, se
puede modificar el texto que se imprime para las secciones de solo
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede modificar el texto empleado para los crescendos y
decrescendos modificando las propiedades de contexto
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+Es posible ajustar la separación en las indicaciones de tesitura.
+
+"
+
+ doctitlees = "Modificación de la separación en las indicaciones de tesitura"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede cambiar el aspecto de las ligaduras de expresión de
continuas a punteadas o intermitentes.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El glifo de la marca de respiración se puede ajustar
sobreescribiendo la propiedad de texto del objeto de presentación
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La nomenclatura inglesa (predeterminada) para los acordes del cifrado
americano se puede cambiar por la alemana (@code{\\germanChords}
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+Este código muestra cómo cambiar la cantidad de puntillos de una nota.
+
+"
+
+ doctitlees = "Modificar el número de puntillos de una nota"
+
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las alteraciones y los signos «más» pueden aparecer antes o
después de los números, según el valor de las propiedades
--- /dev/null
+%%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Se puede cambiar el tamaño y grosor de las líneas de los diagramas de
+posiciones para instrumentos de viento madera.
+
+"
+
+ doctitlees = "Modificar el tamaño de los diagramas de viento madera"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para cambiar el tempo en la salida MIDI sin
imprimir nada, hacemos invisible la indicación metronómica:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede usar @code{Staff.pedalSustainStrings} para fijar el texto de
las indicaciones de pisar pedal y levantar pedal. Observe que las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La instrucción @code{\\time} establece las propiedades
@code{timeSignatureFraction}, @code{beatLength}, @code{beatGrouping} y
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Cambiar el número del grupo especial"
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La propiedad @code{measureLength}, junto con
@code{measurePosition}, determina cuándo es necesario dibujar una
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este tipo de notación se utiliza para el canto de los Salmos, en
que las estrofas no siempre tienen la misma longitud.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede usar la propiedad @code{chordNameExceptions} para
almacenar una lista de notaciones espaciales para acordes
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La presentación del acorde de séptima mayor se
puede ajustar mediante majorSevenSymbol.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede hacer que los diagramas de posiciones se muestren sólo
cuando el acorde cambia o al comienzo de una nueva línea.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este código muestra cómo recortar (extraer) fragmentos a partir de una
partitura completa.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los «clusters» o racimos son un mecanismo para indicar la
interpretación de un ámbito de notas al mismo tiempo.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Ciertas indicaciones dinámicas pueden llevar textos (como @qq{più
forte} o @qq{piano subito}). Se pueden producir usando un bloque
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La herramienta de combinación de partes (instrucción
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Indicaciones de compases compuestos"
texidoces = "
Las indicaciones de compás poco frecuentes como @qq{5/8} se pueden
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La agrupación de pulsos dentro de un compás está controlada por la
-agrupación predeterminada que se establece en @code{beamSettings}.
-Estas agrupaciones se pueden establecer mediante el uso de
-@code{\\overrideBeamSettings}. De forma alternativa, se puede usar la
-función de Scheme @code{set-time-signature} para establecer tanto el
-compás como la regla de agrupamiento predeterminada.
-@code{set-time-signature} acepta tres argumentos: el número de pulsos,
-la longitud del pulso y la agrupación interna de los pulsos en el
-compás. Si el grabador @code{Measure_grouping_engraver} está incluido
-en uno de los contextos de presentación, se imprimirán signos de
-agrupación de pulsos. Estos símbolos facilitan la lectura de música
-moderna rítmicamente compleja. En este ejemplo, el compás de 9/8 se
-agrupa según dos patrones distintos utilizando los dos métodos,
-mientras que el compás de 5/8 se agrupa de acuerdo con el ajuste
-predeterminado que está en @file{scm/beam-settings.scm}:
+propiedad de contexto @code{beatStructure}. Hay establecidos valores
+de @code{beatStructure} para muchos tipos de compases en
+@file{scm/time-signature-settings.scm}. Los valores de
+@code{beatStructure} se pueden cambiar o establecer con @code{\\set}.
+Como alternativa, se puede usar la función de Scheme
+@code{set-time-signature} para establecer tanto el compás como la
+estructura de pulsos. @code{set-time-signature} acepta tres
+argumentos: el número de pulsos, la longitud del pulso y la agrupación
+interna de los pulsos en el compás. Tanto @code{\\time} como
+@code{set-time-signature} se aplican al contexto @code{Timing}, por lo
+que no restablecen los valores de @code{beatStructure} ni de
+@code{baseMoment} que se establezcan en otros contextos de nivel
+inferior, como @code{Voice}.
+
+Si el grabador @code{Measure_grouping_engraver} está incluido en uno
+de los contextos de presentación, se imprimirán signos de agrupación
+de pulsos. Estos símbolos facilitan la lectura de música moderna
+rítmicamente compleja. En este ejemplo, el compás de 9/8 se agrupa
+según dos patrones distintos utilizando los dos métodos, mientras que
+el compás de 5/8 se agrupa de acuerdo con el ajuste predeterminado que
+está en @file{scm/time-signature-settings.scm}:
"
doctitlees = "Símbolos de dirección y símbolos de agrupación de compás"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede tipografiar un gissando contemporáneo sin nota final
utilizando una nota oculta y temporalización de cadenza.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La visibilidad de los objetos de extensión que acaban en la primera
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede controlar con precisión la colocación de los números de
digitación. Para que se tenga en cuenta la orientación de las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El orden vertical que ocupan las inscripciones gráficas está
controlado con la propiedad @code{'script-priority}. Cuanto más
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La creación de un grupeto circular de anticipación entre dos notas,
donde la nota inferior del grupeto utiliza una alteración, requiere
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
En una música que tenga muchas apariciones de la
misma secuencia de notas a distintas alturas, podría ser de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para crear pentagramas en blanco, genere compases vacíos y después
elimine el grabador de números de compás @code{Bar_number_engraver}
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Dentro de un @code{PianoStaff}, es posible hacer que un arpegio
cruce entre los pentagramas ajustando la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden crear arpegios que se cruzan entre pentagramas dentro de
contextos distintos a @code{GrandStaff}, @code{PianoStaff} y
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden crear indicaciones metronómicas nuevas en modo de
marcado, pero no cambian el tempo en la salida MIDI.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Aunque la manera más fácil de añadir paréntesis a una indicación
de dinámica es utilizar un bloque @code{\\markup}, este método
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
A diferencia de las inscripciones de texto, las lestras de ensayo
no se pueden apilar en un punto concreto de la partitura: sólo se
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
En determinadas situaciones es necesario crear ligaduras de
expresión entre notas que están en voces distintas.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las instrucciones @code{\\startTextSpan} y @code{\\stopTextSpan}
permiten la creación de elementos de extensión textuales tan
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Dado que @code{\\repeat tremolo} espera exactamente dos argumentos
+musicales para los trémolos de acorde, la nota o acorde que cambia de
+pentagrama en un trémolo que cruza el pentagrama se debe colocar
+dentro de llaves curvas junto a su instrucción @code{\\change Staff}.
+
+"
+
+ doctitlees = "Trémolos de pentagrama cruzado"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden tipografiar «custos» en diferentes estilos.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden establecer las propiedades de los diagramas de
posiciones de acordes por medio de @code{'fret-diagram-details}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden establecer las propiedades de los diagramas de
posiciones a través de @code{'fret-diagram-details}. Para los
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La dirección predeterminada de las plicas sobre la tercera línea
del pentagrama está determinada por la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este ejemplo demuestra cómo se puede definir el grabador de ámbito en
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden añadir diagramas de posiciones predefinidas para
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si hay un solo pentagrama en un de los tipos de sistema
@code{ChoirStaff} o @code{StaffGroup}, el comportamiento
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
He aquí una forma de imprimir un acorde en el que suena la misma nota
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al trabajar con los callbacks de un grob, puede ser de mucha ayuda
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Alteraciones de estilo dodecafónico para todas las notas, incluidas las naturales"
texidoces = "
En las obras de principios del s.XX, empezando por Schoenberg, Berg y
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Funciones postfijas para la creación de objetos de extensión de texto
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los objetos de extensión \cresc, \dim y \decresc ahora se pueden
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede insertar códico PostScript directamente dentro de un
bloque @code{\\markup}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Del problema central de la notación, esto es, crear un determinado
símbolo, se encargan los «plugins» o complementos añadidos. Cada
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Grabado manual de las ligaduras"
texidoces = "
Se pueden grabar a mano las ligaduras modificando la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Escribir varios grupos especiales usando una sola instrucción \\times"
texidoces = "
La propiedad @code{tupletSpannerDuration} establece cuánto debe durar
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede simular un @qq{hammer} o ligado ascendente con ligaduras de
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+ texidoces = "
+Se pueden conseguir símbolos especiales combinando glifos existentes,
+lo que es de utilidad para la notación de instrumentos de viento.
+
+"
+ doctitlees = "Símbolos de digitación para instrumentos de viento"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
En este ejemplo se combinan las digitaciones de la mano izquierda,
indicaciones del número de cuerda y digitaciones de la mano
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Son posibles tanto los corchetes rectos sobre notas sueltas como
extremos de barra sueltos en figuras unidas, con una combinación de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Forzar el desplazamiento horizontal de las notas"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si LilyPond no cree que haya sitio suficiente para un guión separador
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este fragmento de código basado en Scheme genera
24 notas aleatorias (o tantas como se necesiten), basándose en la
--- /dev/null
+%%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+En muchos casos, las llaves que no están en la columna central se
+pueden presentar por el nombre de la llave así como de forma gráfica.
+
+"
+
+ doctitlees = "Diagramas para viento madera gráficos y textuales"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede cambiar el aspecto de las líneas de rejilla
sobreescribiendo algunas de sus propiedades.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden trazar líneas verticales normales entre pentagramas para
mostrar la relación entre notas; sin embargo, en caso de música
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los patrones de barrado se pueden alterar con la propiedad
@code{beatGrouping}:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Para la música de guitarra, es posible mostrar los ritmos de rasgueo,
además de las notas de la melodía, acordes y diagramas de posiciones.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los reguladores pueden imprimirse en uno cualquiera de los estilos de
@code{line-interface}: discontinuo, punteado, línea, trino o zig-zag.
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+Aquí se muestra la manera de ocultar las alteraciones de las notas
+ligadas al comienzo de un sistema nuevo.
+
+"
+
+ doctitlees = "Ocultar las alteraciones sobre notas ligadas al principio de un sistema nuevo"
+
-%% Translation of GIT committish: 0c1494d93d3ac391fe549a02e8198fe628edac17
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los cambios de dinámica con estilo de texto (como cresc. y dim.)
se imprimen con una línea intermitente que muestra su alcance.
--- /dev/null
+%% Translation of GIT committish: 8b9a694a483632437fb5110b3531074ddb31c04a
+ texidoces = "
+ Este fragmento de código muestra una forma de preparar un himno cuando
+cada línea comienza con un compás parcial. También muestra cómo
+añadir los versos como texto independiente debajo de la música.
+
+"
+
+ doctitlees = "Plantilla para himnos"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los «incipit» se pueden escribir utilizando el grob del nombre del
instruemento, pero manteniendo independientes las definiciones del
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Un corchete de arpegio puede indicar que se tienen que tocar con la
misma mano notas que están en dos pentagramas distintos. Para hacerlo,
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las marcas de cesura se pueden crear sobreescribiendo la propiedad
@code{'text} del objeto @code{BreathingSign}. También está disponible
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-También se pueden imprimir símbolos de porcentaje sueltos. Esto se
-hace introduciendo un silencio multicompás con una función de
-impresión distinta:
+También se pueden imprimir símbolos de porcentaje sueltos.
"
doctitlees = "Símbolos de porcentaje sueltos"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Ésta es una plantilla bastante avanzada, para un conjunto de
jazz. Observe que la notación de todos los instrumentos está en
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Cuando se produce un cambio de clave, el símbolo de clave se imprime a
un tamaño menor que la clave inicial. Esto se puede ajustar con
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La tablatura se puede formatear utilizando letras en lugar de números.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden aplicar puntas de flecha a los elementos de extensión de
texto y de línea (como el Glissando).
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La alineación horizontal de la letra se puede ajustar sobreescribiendo
la propiedad @code{self-alignment-X} del objeto @code{LyricText}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El «Makam» es un tipo de melodía de Turquía que
utiliza alteraciones microtonales de 1/9 de tono. Consulte el
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las ligaduras de expresión se pueden construir con patrones de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede engrosar una línea del pentagrama con fines pedagógicos
(p.ej. la tercera línea o la de la clave de Sol). Esto se puede
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este fragmento de código proporciona una solución alternativa a la
producción de contadores de compás utilizando repeticiones
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La disposición «mensurstriche» en que las líneas divisorias no
están dibujadas sobre los pentagramas, sino entre ellos, se puede
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Utilice un texto de marcado para sustituir el glifo de clave (TAB) con
una fuente tipográfica moderna.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las abreviaturas se encuentran definidas dentro del archivo
@code{ly/script-init.ly}, donde las variables @code{dashHat},
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Cuando se puede una nota en la voz superior para evitar la colisión
con una nota de otra voz, el comportamiento predeterminado es
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede ajustar la posición vertical de una ligadura de
expresiónutilizando la propiedad @code{positions} del objeto
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los elementos de marcado aplicados a un silencio multicompás se
centran encima o debajo de éste. Los elementos de marcado extensos
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede utilizar la propiedad
@code{systemStartDelimiterHierarchy} para crear grupos de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
LilyPond también proporciona funciones de formato para imprimir
números de grupo especial diferentes a la propia fracción, así
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Armaduras de tonalidad no tradicionales"
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las cabezas de nota de notación fácil utilizan la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla muestra el uso de contextos @code{StaffGroup} y
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Internamente, @code{\\ottava} establece las propiedades
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Puede ser difícil comprender la función de @code{\\autoBeamOff} cuando
+se usa con @code{\\partcombine}.
+
+Puede ser preferible usar
+
+
+@code{\\set Staff.autoBeaming = ##f}
+
+
+en su lugar, para asegurarse de que el barrado automático se desactiva
+para todo el pentagrama.
+
+
+@code{\\partcombine} funciona aparentemente con tres voces: plica
+arriba cuando hay una sola voz, plica abajo con la otra, y plica
+arriba cuando está combinada.
+
+
+Una llamada a @code{\\autoBeamOff} en el primer argumento de
+partcombine se aplica a la voz que está activa en el momento en que se
+procesa la llamada, ya sea voz única con la plica hacia arriba, hacia
+abajo o combinadas. Una llamada a @code{\\autoBeamOff} en el segundo
+argumento se aplica a la voz que está sola con la plica abajo.
+
+
+Para pode usar @code{\\autoBeamOff} con el objeto de detener todo el
+barrado automático cuando se usa con @code{\\partcombine}, es
+necesario hacer tres llamadas a @code{\\autoBeamOff}.
+
+
+
+
+"
+ doctitlees = "Partcombine y autoBeamOff"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden mostrar los contadores de las repeticiones del tipo
porcentaje a intervalos regulares mediante el establecimiento de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
texidoces = "
-Las repeticiones de compases completos mayores de dos repeticiones
+Las repeticiones de compases completos de más de dos repeticiones
pueden llevar un contador si se activa la propiedad adecuada, como se
ve en este ejemplo:
"
- doctitlees = "Percent repeat counter"
+ doctitlees = "Contador de repeticiones de tipo porcentaje"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Permitir saltos de línea dentro de grupos especiales con barra"
texidoces = "
Este ejemplo artificial muestra cómo se pueden permitir tanto los
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Presentamos a continuación una plantilla de piano sencilla con algunas
notas.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Muchas partituras de piano tienen las indicaciones dinámicas centradas
entre los dos pentagramas. El contexto @code{Dynamics}, si se sitúa
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
En lugar de tener un pentagrama dedicado a la melodía y la letra, ésta
se puede centrar entre los pentagramas de un sistema de piano.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
He aquí el típico formato dde una canción: un pentagrama con la
melodía y la letra, y el acompañamiento de piano por debajo.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Es posible ejercer un mayor control sobre la colocación de las
digitaciones de la mano derecha estableciendo el valor de una
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La polifonía se crea de la misma forma en un @code{TabStaff} que
en una pauta normal.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si necesitamos alargar o acortar un símbolo de arpegio, podemos
modificar independientemente los extremos superior e inferior.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Cuando se colocan figuras sobre líneas adicionales, sus barras se
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al establecer la propiedad @code{'strict-grace-spacing} hacemos que
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Posicionar los silencios multicompás"
texidoces = "
A diferencia de los silencios normales, no existe una instrucción
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los elementos de marcado de texto deben tener la propiedad
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Evitar que se añadan becuadros adicionales automáticamente"
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Evitar que se impriman becuadros cuando cambia la armadura"
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede imprimir una línea divisoria de la forma @code{|:} al
principio de la pieza, sobreescribiendo la propiedad correspondiente:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden imprimir los números de compás a intervalos regulares
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los números de compás también se pueden imprimir dentro de rectángulos o de circunferencias.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden imprimir reguladores con un círculo en la punta (notación
«al niente») estableciendo la propiedad @code{circled-tip} del objeto
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Se pueden imprimir marcas al final de la línea actual, en vez de al
+principio de la línea siguiente. En estos casos, puede ser preferible
+alinear el borde derecho de la marca con la línea divisoria.
+
+"
+ doctitlees = "Imprimir marcas al final de una línea"
\ No newline at end of file
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Aunque normalmente las marcas de texto sólo se imprimen sobre el
pentagrama superior, también se pueden imprimir en otro pentagrama
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
De forma predeterminada, las indicaciones metronómicas y las
letras de ensayo se imprimen encima del pentagrama. Para
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede usar el contexto @code{NoteNames} para imprimir el valor
textual de las notas. La propiedad @code{printOctaveNames} activa o
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
De forma predeterminada se suprime el número del primer compás de una
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los pasajes citados tienen en cuenta la transposición de la fuente
tanto como la del destino. En este ejemplo, todos los
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La propiedad @code{quotedEventTypes} determina los tipos de eventos
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los valores predeterminados para las notas de adorno están
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden eliminar completamente los números de compás quitando el
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
De forma predeterminada, las líneas divisorias en los grupos
StaffGroup, PianoStaff o GrandStaff se conectan entre los pentagramas.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El primer pentagrama vacío también se puede suprimir de la
partitura estableciendo la propiedad @code{remove-first} de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Estilos de silencios"
texidoces = "
Los silencios se pueden imprimir en distintos estilos.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-Para tipografiar las barras agrupadas en la forma @code{3-4-3-2}
-en 12/8, en primer lugar tenemos que sobreescribir los finales de
-barra predeterminados en 12/8, y después preparar los finales de
-barra nuevos:
+Para tipografiar las barras agrupadas en la forma @code{3-4-3-2} sólo
+es necesario modificar la estructura de pulsos:
"
doctitlees = "Alteración de los finales de barra predeterminados"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
He aquí un cuadro que muestra todas las articulaciones disponibles:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si la nota que da fin a un regulador cae sobre la primera parte de
un compás, el regulador se detiene en la línea divisoria
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden insertar separadores sistema entre los sistemas de una
página. Se puede usar cualquier elemento de marcado, pero
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Existen tres estilos distintos de repeticiones dobles para la primera
+y segunda vez, que se pueden ajustar utilizando
+@code{doubleRepeatType}.
+
+"
+
+ doctitlees = "Establecer el tipo de repetición doble predeterminado para la primera y segunda vez"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Si los reguladores son demasiado cortos, se pueden alargar
modificando la propiedad @code{minimum-length} del objeto
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
De forma predeterminada, los corchetes de primera y segunda vez se
trazan encima de los finales alternativos completos, pero es posible
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden imprimir los acordes exclusivamente al comienzo de las
líneas y cuando cambia el acorde.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Al juntar nombres de acorde en cifrado americano, melodía y letra,
obtenemos una hoja guía de acordes o «lead sheet»:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla facilita la preparación de una canción con melodía,
letra y acordes.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Presentamos a continuación un ejemplo de plantilla para una hoja
guía de acordes con melodía, letra, acordes y diagramas de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
¿Quiere preparar una hoja guía de acordes (o «lead sheet») con
melodía y acordes? ¡No busque más!
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta pequeña plantilla muestra una melodía sencilla con letra. Córtela
y péguela, escriba las notas y luego la letra. Este ejemplo desactiva
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla simple prepara un pentagrama con notas, adecuado para
un instrumento solista o un fragmento melódico. Córtelo y péguelo en
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Marca de pizzicato de chasquido (@q{pizzicato de Bartók})"
texidoces = "
El pizzicato de chasquido (también llamado @q{Pizzicato de Bartók}) es un
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Los textos independientes se pueden disponer en varias columnas
utilizando instrucciones @code{\\markup}:
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La dirección de las plicas se contola de la misma forma en la
tablatura que en la notación tradicional. Las barras se pueden
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla muestra un cuarteto de cuerda normal. También utiliza
una sección @code{\\global} para el compás y la armadura
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
El fragmento de código @qq{Plantilla de cuarteto de cuerda} produce un
resultado satisfactorio para el cuarteto, pero ¿y si tenemos que
+++ /dev/null
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
- texidoces = "
-Las barras de semicorcheas (o notas más breves) seguidas no se
-subdividen de forma predeterminada. Esto es: las tres (o más)
-barras se prolongan, sin dividirse, sobre grupos completos de
-notas. Este comportamiento se puede modificar para que las barras
-se subdividan en subgrupos mediante el establecimiento de la
-propiedad @code{subdivideBeams}. Cuando está establecida, las
-diversas barras se subdividen a intervalos definidos por el valor
-actual de la longitud del pulso @code{beatLength} reduciendo las
-barras múltiples a una sola entre los subgrupos. Observe que el
-valor predeterminado de @code{beatLength} es de una unidad sobre
-el denominador del compás en curso, si no está establecido
-explícitamente. Se debe establecer al valor de una fracción que
-da la duración el subgrupo de barras utilizando la función
-@code{ly:make-moment}, como se muestra aquí:
-
-"
- doctitlees = "Subdivisión de las barras de semicorchea"
-
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+Las barras de semicorchea, o de figuras más breves, no se subdividen
+de forma predeterminada. Esto es, las tres (o más) barras se amplían
+sin romperse sobre grupos completos de notas. Este comportamiento se
+puede modificar para subdividir las barras en subgrupos mediante el
+establecimiento de la propiedad @code{subdivideBeams}. Cuando está
+activada, las barras se subdividen a intervalos definidos por el valor
+actual de @code{baseMoment} mediante la reducción de las barras
+repetidas a una sola entre los subgrupos. Observe que el valor
+predeterminado de @code{baseMoment} es uno más que el denominador del
+tipo de compás actual, si no se fija explícitamente. Se debe ajustar
+a una fracción que da la duración del subgrupo de barras utilizando la
+función @code{ly:make-moment}, como se ve en este fragmento de código.
+Asimismo, cuando se modifica @code{baseMoment}, se debería cambiar
+también @code{beatStructure} para que corresponda al @code{baseMoment}
+nuevo:
+
+"
+ doctitlees = "Subdivisión de barras"
--- /dev/null
+%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+ texidoces = "
+
+A veces, la indicación de compás no debe imprimir la fracción completa
+(p.ej. 7/4), sino sólo el numerador (7 en este caso). Esto se puede
+hacer fácilmente utilizando @code{\\override Staff.TimeSignature
+#'style = #'single-digit} para cambiar el estilo
+permanentemente. Usando @code{\\revert Staff.TimeSignature #'style},
+se puede revertir el cambio. Para aplicar el estilo de un dígito
+único a una sola indicación de compás, utilice la instrucción
+@code{\\override} y anteponga la instrucción @code{\\once}.
+
+"
+ doctitlees = "Indicación de compás imprimiendo sólo el numerador (en lugar de la fracción)"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
A modo de alternativa para obtener auténticos «incipit»
independientes de la partitura principal, se incluyen como
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Transportar música con el menor número de alteraciones"
texidoces = "
Este ejemplo utiliza código de Scheme para forzar las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Trucaje de las propiedades de clave"
texidoces = "
La instrucción @code{\\clef \"treble_8\"} equivale a un ajuste de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
La disposición de las expresiones de adorno se puede cambiar a lo
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se puede usar el delimitador de comienzo de un sistema
@code{SystemStartSquare} estableciéndolo explícitamente dentro de
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Se pueden imprimir estilos alternativos del corchete o gancho de las
--- /dev/null
+%% Translation of GIT committish: 8b9a694a483632437fb5110b3531074ddb31c04a
+ texidoces = "
+El corchete de arpegios @code{arpeggioBracket} se puede usar para
+indicar la división de voces cuando no hay plicas que puedan ofrecer
+esta información. Se suele encontrar en la música coral.
+
+"
+
+ doctitlees = "Uso de arpeggioBracket para hacer más visible un divisi"
+
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Algunos compositores escriben dos ligaduras cuando quieren acordes
legato. Esto se puede conseguir estableciendo @code{doubleSlurs}.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Es posible aplicar la barrita que cruza la barra de las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
doctitlees = "Uso de ligaduras en los arpegios"
texidoces = "
En ocasiones se usan ligaduras de unión para escribir los arpegios.
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Mediante el establecimiento de la propiedad @code{'Y-extent} a un valor
adecuado, todos los objetos @code{DynamicLineSpanner} (reguladores e
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Las expresiones dinámicas que se comienzan, terminan o se producen
en la misma nota se alinean verticalmente. Para asegurar que las
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Este fragmento de código muestra el uso de las propiedades de
contexto @code{alignBelowContext} y @code{alignAboveContext} para
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Allí donde se utilicen líneas extensoras para el bajo cifrado mediante
el establecimiento de @code{useBassFigureExtenders} al valor
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla añade una reducción de piano automática a la partitura
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla es, básicamente, la misma que la sencilla plantilla
@qq{Conjunto vocal}, excepto que aquí todas las líneas de letra se
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Esta plantilla crea una partitura que comienza con una estrofa para
-%% Translation of GIT committish: bfc88203ac2572737480e78ef2635ed35b458441
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
He aquí una partitura vocal estándar para cuatro voces SATB. Con
grupos mayores, suele ser útil incluir una sección que aparezca en
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
Mediante la adición del grabador @code{Volta_engraver} al
pentagrama pertinente, se pueden poner los corchetes de primera y
--- /dev/null
+%%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+
+ texidoces = "
+
+El fragmento de código que aparece a continuación produce una lista de
+todas las llaves y disposiciones de llave posibles para los diagramas
+de posiciones de instrumentos de viento madera, tal y como están
+definidos en @file{scm/define-woodwind-diagrams.scm}. La lista se
+presenta en la consola y en el archivo de registro de salida, pero no
+en la salida de música.
+
+"
+
+ doctitlees = "Listas de llaves para los diagramas de viento madera"
--- /dev/null
+%%% Translation of GIT committish: 298a2c322d7e4f437f3dd1a24db2839e3f35acce
+ texidoces = "
+El fragmento de música que aparece a continuación presenta todos los
+diagramas de viento madera que se encuentran definidos en LilyPond por
+el momento.
+
+"
+ doctitlees = "Listado de los diagramas para viento madera"
@end html
@end ifhtml
-@emph{Actualizado en Mon May 31 11:22:22 UTC 2010
+@emph{Actualizado en Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@item
Títulos de sección
@*
-681
+937
+@tab Francisco Vila
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">sí</span>
+@end html
+@end ifhtml
+@ifnothtml
+sí
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">sí</span>
+@end html
+@end ifhtml
+@ifnothtml
+sí
+@end ifnothtml
+@tab pre-GDP
+@item
+LilyPond --- \TITLE\
+@*
+1107
@tab Francisco Vila
@tab
@tab
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@headitem
-Extending LilyPond
+Extender LilyPond
@tab Traductores
@tab Revisores
@tab Traducido
@item
A Tutorial de Scheme
@*
-5006
+5007
@tab Francisco Vila
@tab
@tab
@item
1 Interfaces para programadores
@*
-3547
+3568
@tab Francisco Vila
@tab
@tab
@item
1 Tutorial
@*
-2504
+2535
@tab Francisco Vila
@tab
@tab
@item
2 Notación corriente
@*
-4191
+4182
@tab Francisco Vila
@tab
@tab
@item
3 Conceptos fundamentales
@*
-10838
+11173
@tab Francisco Vila
@tab
@tab
@item
4 Trucar la salida
@*
-15621
+15650
@tab Francisco Vila
@tab
@tab
@item
A Plantillas
@*
-209
+225
@tab Francisco Vila
@tab
@tab
@item
1.1 Alturas
@*
-3518
+3534
@tab Francisco Vila
@tab
@tab
@item
1.2 Duraciones
@*
-4992
+5117
@tab Francisco Vila
@tab
@tab
@item
1.3 Expresiones
@*
-1481
+1689
@tab Francisco Vila
@tab
@tab
@item
1.4 Repeticiones
@*
-774
+893
@tab Francisco Vila
@tab
@tab
@item
1.5 Notas simultáneas
@*
-1639
+1948
@tab Francisco Vila
@tab
@tab
@item
1.6 Notación de los pentagramas
@*
-1855
+2010
@tab Francisco Vila
@tab
@tab
@item
1.8 Texto
@*
-2755
+2707
@tab Francisco Vila
@tab
@tab
@item
2.1 Música vocal
@*
-2805
+4991
@tab Francisco Vila
@tab
@tab
@item
2.3 Instrumentos de cuerda sin trastes
@*
-255
+281
@tab Francisco Vila
@tab
@tab
@item
2.4 Instrumentos de cuerda con trastes
@*
-2233
+2242
@tab Francisco Vila
@tab
@tab
@item
2.6 Instrumentos de viento
@*
-136
+348
@tab Francisco Vila
@tab
@tab
@item
2.7 Notación de acordes
@*
-1521
+1854
@tab Francisco Vila
@tab
@tab
@item
2.10 Músicas del mundo
@*
-1429
+1428
@tab Francisco Vila
@tab
@tab
@item
3 Entrada y salida generales
@*
-6416
+6856
@tab Francisco Vila
@tab
@tab
@item
4 Problemas de espaciado
@*
-9258
+9277
@tab Francisco Vila
@tab
@tab
@item
5 Cambiar los valores por omisión
@*
-11815
+11836
@tab Francisco Vila
@tab
@tab
@item
1 Ejecutar LilyPond
@*
-3373
+3629
@tab Francisco Vila
@tab
@tab
@item
3 Ejecución de @command{lilypond-book}
@*
-3439
+3747
@tab Francisco Vila
@tab
@tab
@item
4 Programas externos
@*
-2229
+2176
@tab Francisco Vila
@tab
@tab
@item
Títulos de sección
@*
-510
+579
@tab Francisco Vila
@tab
@tab
@item
Introducción
@*
-4289
+4498
@tab Francisco Vila
@tab
@tab
@item
Descarga
@*
-1173
+1169
@tab Francisco Vila
@tab
@tab
@item
Manuales
@*
-1198
+1200
@tab Francisco Vila
@tab
@tab
@item
Comunidad
@*
-1670
+1679
@tab Francisco Vila
@tab
@tab
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: 3b870eb9ab448ebc11a2d6283ad35796b22351aa
+ Translation of GIT committish: 5c6e54cb116ec894b6b2ff7b1fca6ed56628f53b
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@unnumberedsubsec Modo de Vim
@translationof Vim mode
-Para @uref{http://@/www@/.vim@/.org,VIM} se proporciona un
-@file{vimrc}, junto con herramientas de resaltado de sintaxis con
-colores. Se encuentra incluido un modo de Vim para escribir música y
-ejecutar LilyPond, dentro del archivo de código fuente, en el
-directorio @code{$VIM}.
-
-El tipo de archivo de LilyPond se detecta si el archivo
-@file{~/.vim/filetype.vim} tiene el siguiente contenido
+Para @uref{http://@/www@/.vim@/.org,Vim}, se proporcionan para
+su uso con LilyPond un plug-in o complemento para el tipo de archivo,
+un modo de sangrado y un modo de resaltado de sintaxis.
+Para habilitar todas estas posibilidades, cree (o modifique)
+su archivo @file{$HOME/.vimrc} de manera que contenga estas tres líneas
+en el mismo orden:
@example
-if exists("did_load_filetypes")
- finish
-endif
-augroup filetypedetect
- au! BufNewFile,BufRead *.ly,*.ily setf lilypond
-augroup END
+filetype off
+set runtimepath+=/usr/local/share/lilypond/current/vim/
+filetype on
@end example
-Incluya esta ruta añadiendo la siguiente línea a su @file{~/.vimrc}
+Si LilyPond no está instalado en el directorio
+@file{/usr/local/}, cambie esta ruta de una forma adecuada.
+Este asunto se trata en
+@rlearning{Otras fuentes de información}.
-@example
-set runtimepath+=/usr/local/share/lilypond/$@{LILYPOND_VERSION@}/vim/
-@end example
-
-@noindent
-donde $@{LILYPOND_VERSION@} es su versión de lilypond. Si LilyPond no
-se instaló en su momento en @file{/usr/local/}, cambie esta ruta de la
-forma correspondiente.
-
-En Fedora, la ruta apunta a la versión actual de Vim en lugar de
-LilyPond:
-
-@example
-set runtimepath+=/usr/share/vim/vim72/
-@end example
@node Otros editores
informes de fallo casi con certeza no se resolverán a medio plazo.
@menu
-* Invocar midi2ly:: Importar archivos MIDI.
-* Invocar musicxml2ly:: Importar archivos MusicXML.
-* Invocar abc2ly:: Importar archivos ABC.
-* Invocar etf2ly:: Importar archivos de Finale.
+* Invocar midi2ly:: Importar archivos MIDI.
+* Invocar musicxml2ly:: Importar archivos MusicXML.
+* Invocar abc2ly:: Importar archivos ABC.
+* Invocar etf2ly:: Importar archivos de Finale.
* Otros formatos::
@end menu
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: 814486057aa68c11988cb86375b44bf898cdc300
+ Translation of GIT committish: 2f9b33bc922d93c36e3b6bfe59f1c9deffd94af4
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
* Invocar lilypond-book::
* Extensiones de nombres de archivo::
* Plantillas de lilypond-book::
+* Compartir el índice general::
* Métodos alternativos para mezclar texto y música::
@end menu
@end verbatim
+@node Compartir el índice general
+@section Compartir el índice general
+@translationof Sharing the table of contents
+
+Estas funciones ya existen en el paquete OrchestralLily:
+
+@example
+@url{http://repo.or.cz/w/orchestrallily.git}
+@end example
+
+Para conseguir más flexibilidad en el manejo del texto, algunos
+usuarios prefieren exportar la el índice general o tabla de contenidos
+desde lilypond y leerla dentro de @LaTeX{}.
+
+@subsubheading Exportación del índice general desde LilyPond
+
+Esto supone que nuestra partitura tiene varios movimientos dentor del
+mismo archivo de salida de lilypond.
+
+@smallexample
+#(define (oly:create-toc-file layout pages)
+ (let* ((label-table (ly:output-def-lookup layout 'label-page-table)))
+ (if (not (null? label-table))
+ (let* ((format-line (lambda (toc-item)
+ (let* ((label (car toc-item))
+ (text (caddr toc-item))
+ (label-page (and (list? label-table)
+ (assoc label label-table)))
+ (page (and label-page (cdr label-page))))
+ (format #f "~a, section, 1, @{~a@}, ~a" page text label))))
+ (formatted-toc-items (map format-line (toc-items)))
+ (whole-string (string-join formatted-toc-items ",\n"))
+ (output-name (ly:parser-output-name parser))
+ (outfilename (format "~a.toc" output-name))
+ (outfile (open-output-file outfilename)))
+ (if (output-port? outfile)
+ (display whole-string outfile)
+ (ly:warning (_ "Unable to open output file ~a for the TOC information") outfilename))
+ (close-output-port outfile)))))
+
+\paper @{
+ #(define (page-post-process layout pages) (oly:create-toc-file layout pages))
+@}
+@end smallexample
+
+@subsubheading Importación del índice general dentro de LaTeX
+
+En LaTeX, la cabecera debe incluir lo siguiente:
+
+@c no, this doesn't require the smallexample, but since the other
+@c two blocks on this page use it, I figured I might as well
+@c user it here as well, for consistency. -gp
+@smallexample
+\usepackage@{pdfpages@}
+\includescore@{nombredelapartitura@}
+@end smallexample
+
+@noindent
+donde @code{\includescore} está definido como:
+
+@smallexample
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% \includescore@{PossibleExtension@}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+% Leer las entradas del índice general para un archivo PDF
+% a partir del archivo .toc correspondeiente.
+% Esto requiere bastantes trucos de latex, porque leer cosas de un archivo
+% e insertarlo dentro de los argumentos de un macro no es posible
+% fácilmente.
+
+% Solución de Patrick Fimml en el canal #latex el 18 de abril de 2009:
+% \readfile@{filename@}@{\variable@}
+% lee el contenido del archivo en \variable (no definida si el
+% archivo no existe)
+\newread\readfile@@f
+\def\readfile@@line#1@{%
+@{\catcode`\^^M=10\global\read\readfile@@f to \readfile@@tmp@}%
+\edef\do@{\noexpand\g@@addto@@macro@{\noexpand#1@}@{\readfile@@tmp@}@}\do%
+\ifeof\readfile@@f\else%
+\readfile@@line@{#1@}%
+\fi%
+@}
+\def\readfile#1#2@{%
+\openin\readfile@@f=#1 %
+\ifeof\readfile@@f%
+\typeout@{No TOC file #1 available!@}%
+\else%
+\gdef#2@{@}%
+\readfile@@line@{#2@}%
+\fi
+\closein\readfile@@f%
+@}%
+
+
+\newcommand@{\includescore@}[1]@{
+\def\oly@@fname@{\oly@@basename\@@ifmtarg@{#1@}@{@}@{_#1@}@}
+\let\oly@@addtotoc\undefined
+\readfile@{\oly@@xxxxxxxxx@}@{\oly@@addtotoc@}
+\ifx\oly@@addtotoc\undefined
+\includepdf[pages=-]@{\oly@@fname@}
+\else
+\edef\includeit@{\noexpand\includepdf[pages=-,addtotoc=@{\oly@@addtotoc@}]
+@{\oly@@fname@}@}\includeit
+\fi
+@}
+@end smallexample
+
+
@node Métodos alternativos para mezclar texto y música
@section Métodos alternativos para mezclar texto y música
@translationof Alternate methods of mixing text and music
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: e776d5bb2a48191d2c7ccd60b160211462701b2e
+ Translation of GIT committish: e97ca85dab74d4cdf388fc489789bddd69275186
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@var{base}@file{-cello-1.pdf}.
+@unnumberedsubsubsec Instrucciones estándar de la línea de órdenes
+
+Si su terminal (o ventana de órdenes) contempla las redirecciones
+normales, quizá le sean de utilidad las siguientes instrucciones para
+redirigir la salida de la consola a un archivo:
+
+@itemize
+
+@item
+@code{lilypond archivo.ly 1>salidaestandar.log} para redirigir la salida normal
+
+@item
+@code{lilypond archivo.ly 2>salidadeerror.log} para redirigir los mensajes de error
+
+@item
+@code{lilypond archivo.ly &>todo.log} para redirigir toda la salida
+
+@end itemize
+
+Consulte la documentación de su shell para ver si contempla estas
+opciones, o si la sintaxis es distinta. Observe que son instrucciones
+del shell y que no tienen nada que ver con lilypond.
+
@node Opciones de la línea de órdenes para lilypond
@unnumberedsubsec Opciones de la línea de órdenes para @command{lilypond}
@translationof Command line options for lilypond
@item -H,--header=@var{CAMPO}
Volcar un campo de cabecera al archivo @file{NOMBREBASE.@var{CAMPO}}
+@cindex archivos, búsqueda de
+@cindex búsqueda, ruta de
@item --include, -I=@var{directorio}
Añadir el @var{directorio} a la ruta de búsqueda de archivos de
entrada.
-@cindex archivos, búsqueda de
-@cindex búsqueda, ruta de
+
+Se pueden escribir varias opciones -I. La búsqueda se inicia en el
+primer directorio definido, y si el archivo que se debe incluir no se
+encuentra, la búsqueda continúa en los directorios siguientes.
@item -i,--init=@var{archivo}
Establecer el archivo de inicio a @var{archivo} (predeterminado:
@file{init.ly}).
-@item -o,--output=@var{ARCHIVO}
+@cindex carpeta, dirigir la salida hacia
+@cindex salida, establecer el nombre del archivo de
+
+@item -o,--output=@var{ARCHIVO} o @var{CARPETA}
Establecer el nombre del archivo de salida predeterminado a
-@var{ARCHIVO}. Se añade el sufijo correspondiente (por ejemplo,
-@code{.pdf} para PDF).
+@var{ARCHIVO} o, si existe una carpeta con ese nombre, dirigir la
+salida hacia @var{CARPETA}, tomando el nombre de archivo del documento
+de entrada. Se añade el sufijo correspondiente (por ejemplo,
+@code{.pdf} para PDF) en los dos casos.
@item --ps
Generar PostScript.
# Los archivos compartidos para ImageMagick
cp -L -r /usr/lib/ImageMagick* usr/lib
-### Ahora, suponiendo que tenemos test.ly en /mnt/lilyloop/lilyhome, deberíamos poder ejecutar:
-### Observe que /$lilyprefix/bin/lilypond es un guión, que establece un valor para LD_LIBRARY_PATH : esto es crucial
+### Ahora, suponiendo que tenemos test.ly en /mnt/lilyloop/lilyhome,
+### deberíamos poder ejecutar:
+### Observe que /$lilyprefix/bin/lilypond es un guión, que establece
+### un valor para LD_LIBRARY_PATH : esto es crucial
/$lilyprefix/bin/lilypond -jlily,lily,/mnt/lilyloop,/lilyhome test.ly
@end example
+@c " keep quote signs balanced for context-sensitive editors
@node Mensajes de error
@section Mensajes de error
* Error aparente en ../ly/init.ly::
* Mensaje de error Unbound variable %::
* Mensaje de error FT_Get_Glyph_Name::
+* Advertencia sobre que las afinidades del pentagrama sólo deben decrecer::
@end menu
@node La música se sale de la página
parte de la sílaba. Siempre se aconseja asegurarse de que hay
espacios antes y después de @emph{todas} las llaves. Para conocer la
importancia de este asunto al utilizar letras de canciones, consulte
-@ruser{Explicación de la letra}.
+@ruser{Introducir la letra}.
Este mensaje de error también puede aparecer si se omiten las comillas
de terminación (@code{"}). En este caso, un mensaje de error
(@code{%}), y no se deben utilizar dentro de las rutinas de Scheme.
Los comentarios de Scheme comienzan con punto y coma, (@code{;}).
-
@node Mensaje de error FT_Get_Glyph_Name
@unnumberedsubsec Mensaje de error FT_Get_Glyph_Name
@translationof Error message FT_Get_Glyph_Name
texto}.
+@node Advertencia sobre que las afinidades del pentagrama sólo deben decrecer
+@unnumberedsubsec Advertencia sobre que las afinidades del pentagrama sólo deben decrecer
+@translationof Warning staff affinities should only decrease
+Esta advertencia puede aparecer si no hay ningún pentagrama en la
+salida impresa, por ejemplo si sólo hay un contexto @code{ChordName} y
+un contexto @code{Lyrics} como en una hoja guía de acordes. Los
+mensajes de advertencia se pueden evitar haciendo que uno de los
+contextos se comporte como un pentagrama, insertando
+
+@example
+\override VerticalAxisGroup #'staff-affinity = ##f
+@end example
+
+@noindent
+al comienzo. Para ver más detalles, consulte @qq{Espaciado de las
+líneas que no son pautas} in @ruser{Espaciado vertical dentro de un
+sistema}.
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: 3dd9b13331489a191d0e901245cc98476e5fcac1
+ Translation of GIT committish: fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: 08f9346660b5a8762041f4ce27e0aa4e4e3e338a
+ Translation of GIT committish: a2e97a25e3f33c847c4d6a039c2f93d8d050a990
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@end copying
+@c Info files are no longer installed in a subdirectory, images are
+@c expected to be found in lilypond/ subdirectory.
+@dircategory GNU LilyPond: el tipografiador de música
+@direntry
+* Manual de aprendizaje de LilyPond: (lilypond-learning). Comience por aquí.
+* Glosario musical: (music-glossary). Para usuarios de habla no inglesa.
+* LilyPond: (lilypond-notation). Referencia de la notación con LilyPond.
+* Fragmentos de código de LilyPond: (lilypond-snippets). Consejos, trucos y ejemplos cortos.
+* Referencia de funcionamiento interno: (lilypond-internals). Definiciones para la construcción de trucos.
+* Utilización del programa: (lilypond-usage). Instalación y ejecución de las aplicaciones.
+* Página web: (lilypond-web). Vista previa de la nueva página.
+* lilypond: (lilypond-usage)Ejecutar LilyPond. Invocar el programa LilyPond.
+* abc2ly: (lilypond-usage)Invocación de abc2ly. Importación de ABC.
+* convert-ly: (lilypond-usage)Actualización de archivos mediante convert-ly. Versiones antiguas de LilyPond.
+* etf2ly: (lilypond-usage)Invocar etf2ly. Importación de Finale.
+* lilypond-book: (lilypond-usage)LilyPond-book. Intergrar texto y música.
+* midi2ly: (lilypond-usage)Invocar midi2ly. Importación de MIDI.
+* musicxml2ly: (lilypond-usage)Invocar musicxml2ly. Importación de MusicXML.
+@end direntry
+
+
@c TITLE PAGE
@ifnottex
@node Arriba
@end ignore
-@c Info files are no longer installed in a subdirectory, images are
-@c expected to be found in lilypond/ subdirectory.
-@dircategory GNU LilyPond: el tipografiador de música
-@direntry
-* Manual de aprendizaje de LilyPond: (lilypond-learning). Comience por aquí.
-* Glosario musical: (music-glossary). Para usuarios de habla no inglesa.
-* LilyPond: (lilypond-notation). Referencia de la notación con LilyPond.
-* Fragmentos de código de LilyPond: (lilypond-snippets). Consejos, trucos y ejemplos cortos.
-* Referencia de funcionamiento interno: (lilypond-internals). Definiciones para la construcción de trucos.
-* Utilización del programa: (lilypond-usage). Instalación y ejecución de las aplicaciones.
-* Página web: (lilypond-web). Vista previa de la nueva página.
-* lilypond: (lilypond-usage)Ejecutar LilyPond. Invocar el programa LilyPond.
-* abc2ly: (lilypond-usage)Invocación de abc2ly. Importación de ABC.
-* convert-ly: (lilypond-usage)Actualización de archivos mediante convert-ly. Versiones antiguas de LilyPond.
-* etf2ly: (lilypond-usage)Invocar etf2ly. Importación de Finale.
-* lilypond-book: (lilypond-usage)LilyPond-book. Intergrar texto y música.
-* midi2ly: (lilypond-usage)Invocar midi2ly. Importación de MIDI.
-* musicxml2ly: (lilypond-usage)Invocar musicxml2ly. Importación de MusicXML.
-@end direntry
-
-
@c FIXME: this still doesn't solve the broken links in pdf and big
@c html; we'll need a bunch of @iftext and stuff in here. -gp
@c ****************** SPECIAL MACROS FOR WEB MANUAL ************
@end macro
+@ifhtml
+@macro contactUsAbout{topic}
+
+@divClass{heading-center}
+@divClass{contactBox}
+Si tiene conocimiento de cualesquiera otros \topic\ que merezcan
+aparecer relacionados aquí,
+le rogamos que nos lo haga saber siguiendo las instrucciones
+que hay en @ref{Informes de fallos}.
+
+@divEnd
+@divEnd
+
+@end macro
+@end ifhtml
+
+@ifnothtml
+@macro contactUsAbout{topic}
+@cartouche
+If you are aware of any other \topic\ which could be listed here,
+please let us know by following the instructions on
+@ref{Bug reports}.
+
+@end cartouche
+
+@end macro
+@end ifnothtml
+
@include web/introduction.itexi
@include web/download.itexi
@include web/manuals.itexi
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: 68cf70682a542701a918f8bfff50f2b8b85f84e2
+ Translation of GIT committish: c95162b90ec5d20e208ef20ced3eb0f8fde23e1f
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@unnumbered Comunidad
@translationof Community
+@divClass{link-headings}
+
@divClass{column-center-top}
@subheading Interactuar con la comunidad
@end itemize
@divEnd
+@divEnd
@divClass{hide}
@menu
@heading Materiales de desarrollo para LilyPond @versionDevel
@end ifset
+
+@c we normally don't allow named references, but in this case
+@c it's good to emphasize the "stable" part. -gp
@warning{Éstas son las versiones @emph{inestables de desarrollo}. Si
tiene la más ligera duda acerca de cómo usar o instalar LilyPond, le
-conminamos a que utilice la @ref{Descarga} estable, y lea los
-@ref{Manuales} estables.}
+conminamos a que utilice la @ref{Descarga, descarga estable},
+y lea los @ref{Manuales, manuales estables}.}
@divEnd
@subheading Pruebas de regresión
@divClass{keep-bullets}
-@itemize
@ifclear web_version
+@itemize
@item
@item @uref{../../input/regression/collated-files.html, Pruebas de regresión}:
Pruebas del lanzamiento actual.
@uref{../../input/regression/musicxml/collated-files.html, Pruebas de regresión de MusicXML}:
las pruebas de MusicXML de la versión actual.
(@uref{../input/regression/musicxml/collated-files.pdf, versión PDF}).
+
+@item
+@uref{../../input/regression/abc2ly/collated-files.html, pruebas de abc2ly}:
+Las pruebas de abc2ly de esta versión.
+(@uref{../../input/regression/abc2ly/collated-files.pdf, versión en PDF})
+
+@item
+@uref{../../input/regression/lilypond-book/collated-files.html, pruebas de lilypond-book}:
+Las pruebas de lilypond-book de esta versión.
+(@uref{../../input/regression/lilypond-book/collated-files.pdf, versión en PDF})
+@end itemize
+
@end ifclear
@ifset web_version
+@subsubheading Versión de desarrollo
+
+@itemize
@item @regtestDevel-es (@regtestDevelPdf-es{})
@item @regtestDevelXml-es (@regtestDevelXmlPdf-es{})
@item @regtestStable-es (@regtestStablePdf-es{})
@item @regtestStableXml-es (@regtestStableXmlPdf-es{})
+
+@item @regtestDevelAbc (@regtestDevelAbcPdf{})
+
+@item @regtestDevelLilypondBook (@regtestDevelLilypondBookPdf{})
+@end itemize
+
+@subsubheading Versión estable
+
+@itemize
+@item @regtestStable (@regtestStablePdf{})
+
+@item @regtestStableXml (@regtestStableXmlPdf{})
+
+@item @regtestStableAbc (@regtestStableAbcPdf{})
+
+@item @regtestStableLilypondBook (@regtestStableLilypondBookPdf{})
+@end itemize
@end ifset
+@subsubheading Todas las versiones
+
+@itemize
@item @uref{http://lilypond.org/test, Archivo de las pruebas de regresión}:
Comparaciones entre versiones.
-
@end itemize
+
@divEnd
@divEnd
@subheading Lo que nosotros hemos escrito sobre LilyPond
@divClass{keep-bullets}
-@itemize
-
-@item
-Han-Wen Nienhuys, @emph{LilyPond, Automated music formatting and the
-Art of Shipping}. Forum Internacional Software Livre 2006 (FISL7.0)
-(@uref{http://lilypond.org/web/images/FISL7-slides.pdf, PDF 1095k})
-@item
-Erik Sandberg, @emph{Separating input language and formatter in GNU
-LilyPond}. Master's Thesis, Uppsala University, Department of
-Information Technology, marzo de 2006.
-(@uref{http://lilypond.org/web/images/thesis-erik-sandberg.pdf, PDF
-750k})
-
-@item
-Han-Wen Nienhuys y Jan Nieuwenhuizen, @emph{LilyPond, a system for
-automated music engraving}. Proceedings of the XIV Colloquium on
-Musical Informatics (XIV CIM 2003), Florencia, Italia, mayo de 2003.
-(@uref{ http://lilypond.org/web/images/xivcim.pdf, PDF 95k})
-
-@end itemize
+@include we-wrote.itexi
@divEnd
@divEnd
-
@divClass{column-center-bottom}
@subheading Lo que otros han hecho con LilyPond
-@divClass{keep-bullets}
-@itemize
-@item
-Graham Percival, Tosten Anders y George Tzanetakis,
-@emph{Generating Targeted Rhythmic Exercises for Music Students
-with Constraint Satisfaction Programming}, International Computer
-Music Conference 2008.
-
-@item
-A. Passos, M. Silva, P. Kroger, y G. Cidra,
-@emph{Functional Harmonic Analysis and Computational Musicology
-in Rameau}, Proceedings of the 12th Brazilian Symposium on Compute
-Music, 2009, pp. 207-210.
-
-@item
-Alberto Simões, Anália Lourenço y José João Almeida,
-@emph{Using Text Mining Techniques for Classical Music Scores Analysis},
-New Trends in Artificial Intelligence, 2007 J. Neves et al ed.
-
-@item
-
-Kevin C. Baird 2005.
-@emph{Real-time generation of music notation via audience interaction using
-python and GNU lilypond}. Proceedings of the 2005 Conference on New interfaces
-For Musical Expression (Vancouver, Canadá, May 26 - 28, 2005).
-New Interfaces For Musical Expression. Universidad Nacional de Singapur, Singapur, 240-241.
+@divClass{keep-bullets}
-@end itemize
+@include others-did.itexi
@divEnd
@divEnd
+@contactUsAbout{artículos académicos}
+
@node Noticias antiguas
@unnumberedsec Noticias antiguas
@include web/news-front.itexi
@include web/news.itexi
-
-
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: 77af5c6014addc929dfa818be21d2093d4b1028a
+ Translation of GIT committish: 98d54187c3da37a2f2a7d21c2aeaa5f6dd148193
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@divClass{heading-center}
@ifclear web_version
- @c yes, we want verisonDevel here, since the online links
+ @c yes, we want versionDevel here, since the online links
@c for @version won't be up yet!
@heading Descargas para LilyPond @versionDevel
@divEnd
+@divClass{link-headings}
+
@divClass{column-left-top}
@subheading Para usuarios
@itemize
@item
-@c TODO: duplicate to avoid underlined refs in HTML? icky.
+@c ref is duplicated to avoid underlining ref as image.
@ref{Unix, @sourceimage{logo-linux,,,}
@sourceimage{logo-freebsd,,,}}
@ref{Unix, Unix (Linux y FreeBSD)}
@end itemize
@divEnd
+@divEnd
@divClass{column-center-bottom}
@divEnd
+
@divClass{column-right-top}
@subheading Compilación de un archivo
@item
Cree un archivo llamado @command{lilypond} que contenga
-@c @hel p obvious css issue to be dealt with. :(
-@c we need a small font here to fit. -gp
-@smallexample
+@divClass{h-scroll-auto}
+@example
exec @var{DIR}/LilyPond.app/Contents/Resources/bin/lilypond "$@@"
-@end smallexample
+@end example
+@divEnd
@warning{en general, @var{DIR} será @code{/Applications/}}
Los guiones también se pueden lanzar desde la línea de órdenes
mediante su invocación directa:
+@divClass{h-scroll-auto}
@example
@var{ruta/de}/LilyPond.app/Contents/Resources/bin/lilypond
@end example
+@divEnd
Lo mismo vale para el resto de los guiones de ese directorio, como
@command{lilypond-book} y @command{convert-ly}.
@item
Localice el archivo descargado y haga doble clic sobre él para
-arrancar el instalador. Siga las instrucciones que le indica el instalador; le recomendamos
-que deje seleccionadas todas las opciones de instalación y que utilice
-la ruta de instalación predeterminada. Pulse sobre el botón
+arrancar el instalador. Siga las instrucciones que le indica
+el instalador; le recomendamos que deje seleccionadas todas
+las opciones de instalación y que utilice
+la ruta de instalación predeterminada. Pulse sobre el botón
@q{Finalizar} cuando el instalador termine. LilyPond está instalado.
@end enumerate
de desinstalación.
@item
-Desde el Panel de control, busque y seleccione el programa LilyPond y
-elija la opción de desinstalar/quitar programa. Pulse el botón
-@q{Finish} cuando termine el programa de desinstalación.
+O bien, desde el Panel de control, busque y seleccione el programa
+LilyPond y elija la opción de desinstalar/quitar programa.
+Pulse el botón @q{Finish} cuando termine el programa de desinstalación.
@end enumerate
@include gpl.itexi
@divEnd
-
-
-
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: d5bf9d0cec254701a31ecae4587c52c147d08635
+ Translation of GIT committish: 8d6bc6be08ed7a515c17a3290ba8977655ef074f
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@divEnd
+@divClass{link-headings}
+
@divClass{column-left-top}
@subheading Qué hace LilyPond
@end itemize
@divEnd
+@divEnd
+
@c TRANSLATORS, translations are not yet compiled in Info format, so
@c it's not worth translating the right column of the following
@c menu. -JM
@divClass{hide}
@menu
-* Posibilidades::
-* Ejemplos::
+* Posibilidades::
+* Ejemplos::
* Libertad:: La libertad y la GPL.
* Trasfondo:: Estética computacional.
* Producciones:: Uso de LilyPond en el mundo real.
-* Reseñas::
-* Entrada de texto::
+* Reseñas::
+* Entrada de texto::
* Entornos mejorados:: Otras formas de trabajar con LilyPond.
@end menu
@divEnd
descarga inmediata o en el formato tradicional de papel.
@item
-@uref{http://theshadylanepublishing.com/, The Shady Lane Publishing},
+@uref{http://www.shadylane.fr, The Shady Lane Publishing},
una @qq{micro editorial musical} cuya meta es promover una nueva forma
de economía más cercana a los músicos y amantes de la música.
@divEnd
+@contactUsAbout{conciertos o partituras}
@divClass{column-center-bottom}
@subheading Y ahora ¿qué?
@divClass{keep-bullets}
@itemize
+@item
+May 2010
+
+Peter Kirn, en el sitio web Create Digital Music website, publica una
+@uref{http://createdigitalmusic.com/2010/05/14/lilypond-free-beautiful-music-notation-engraving-for-anyone/,revisión
+de LilyPond}. Arroja una mirada equilibrada sobre la utilización, alaba
+la notación de alta calidad de LilyPond y sugiere a los lectores que lo prueben.
+
@item
Septiembre de 2009
@divEnd
+@divClass{testimonial-item}
+@subsubheading @uref{http://webusers.siba.fi/~mkuuskan/, El Dr. Mika Kuuskankare}, investigador de la @uref{http://siba.fi, Sibelius Academy de Finlandia}, compositor y autor del Expressive Notation Package (ENP)
+
+@qq{Siento el más hondo respeto hacia LilyPond y sus creadores y
+mantenedores debido a que sé por mi experiencia personal lo difícil
+que puede ser este tipo de software.}
+@divEnd
+
+
+@divClass{testimonial-item}
+@subsubheading @uref{http://camerondh.blogspot.com, David Cameron}, Músico, tipógrafo musical profesional y usuario experimentado de SCORE
+
+@qq{Mi agradecimiento de todo corazón a todo aquel que contribuye a
+este proyecto. Yo fui un usuario intensivo de SCORE para casas
+grandes de edición musical, allá por los años 90, pero ahora siento
+que LilyPond, por fin, me permite conseguir exactamente los que quiero
+hacer sobre la página, especialmente cuando no se trata de la práctica
+"estándar".}
+@divEnd
+
+@divEnd
+
+@contactUsAbout{artículos de noticias o testimonios}
+
@divClass{column-center-bottom}
@subheading Y ahora ¿qué?
@divEnd
@divClass{column-center-top}
-@divEnd@subheading Emacs y Vim
+@subheading Editores de texto
@sourceimage{logo-linux,,,}
@sourceimage{logo-freebsd,,,}
Hay más información sobre la configuración de Emacs y de Vim en
@rprogram{Apoyo respecto de los editores de texto}.
-@divEnd
-
-@ignore these may not need to be here at all, as they are purely
-MacOS scripts.
-
-@divClass{column-center-top}
-@subheading Otros
-
-
-@subsubheading Entorno de edición de texto: TexShop
-
@sourceimage{logo-macosx,,,}
-
@uref{http://www.uoregon.edu/~koch/texshop}
El editor TexShop para MacOS@tie{}X se puede extender para que ejecute
@uref{http://users.dimi.uniud.it/~nicola.vitacolonna/home/content/lilypond-scripts}
@end example
-@subsubheading TextMate
-
@sourceimage{logo-macosx,,,}
-
-There is a LilyPond bundle for TextMate. It may be installed by
-running:
+Existe un paquete de LilyPond para TextMate, un editor
+comercial para MacOS. Se puede instalar ejecutando:
@example
mkdir -p /Library/Application\ Support/TextMate/Bundles
cd /Library/Application\ Support/TextMate/Bundles
-svn co http://svn.textmate.org/trunk/Bundles/LilyPond.tmbundle/
+git clone http://github.com/textmate/lilypond.tmbundle.git
+
@end example
@divEnd
-@end ignore
@divClass{column-center-top}
-@subheading Otros programas capaces de exportar código de LilyPond
+@subheading Programas capaces de exportar código de LilyPond
@subsubheading Editores de partitura, tablatura y MIDI:
@item
@uref{http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/nted.xhtml,NtEd},
-está basado en la biblioteca @uref{http://cairographics.org, Cairo} y
-exporta archivos de LilyPond de forma experimental.
+un editor de partitura basado en la biblioteca
+@uref{http://www.cairographics.org,Cairo},
+contempla de forma experimental la exportación a LilyPond.
@item
@uref{http://www.tuxguitar.com.ar/,TuxGuitar}, un editor y reproductor
-de tablatura multipista tiene un modo de vista de partitura y
-tablatura, y es capaz de exportar hacia LilyPond.
+de tablatura multipista, tiene visor de partitura
+y es capaz de exportar hacia LilyPond.
@item
-@uref{http://musescore.org,MuseScore} tiene exportación incompleta de
-LilyPond pero se está desarrollando de forma activa.
+@uref{http://www.musescore.org,MuseScore}, unu editor de partituras,
+tiene exportación incompleta de LilyPond
+pero se está desarrollando de forma activa.
@item
-@uref{http://canorus.org,Canorus} puede exportar también a LilyPond,
+@uref{http://www.canorus.org,Canorus}, un editor de partituras,
+también puede exportar a LilyPond,
pero aún es un programa en fase beta, se agradecen las pruebas por
parte de los usuarios.
@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor}, un
convertidor monofónico de MIDI a LilyPond en tiempo real.
+@item
+@uref{http://www.holmessoft.co.uk/homepage/software/NWC2LY/index.htm,
+NW2LY} es un programa en C# que convierte una canción de
+@uref{http://www.noteworthysoftware.com/, NoteWorthy} en
+LilyPond.
+
@end itemize
-@subsubheading Generadores de código algorítmicos:
+@subsubheading Generadores de código algorítmicos
@itemize
@item
-@uref{http://strasheela.sourceforge.net, Strasheela} es @qq{un sistema
-de composición musical basado en restricciones, altamente expresivo}.
+@uref{http://www.projectabjad.org/,Abjad}, una API de
+@uref{http://www.python.org/,Python} para el control formalizado
+de partituras, diseñado para ayudar a los compositores
+a construir fragmentos complejos de notación de LilyPond
+de una forma iterativa e incremental.
+
+@item
+@uref{http://common-lisp.net/project/fomus/,FOMUS}, una
+biblioteca de LISP para generar notación musical a partir
+de entornos de software musical.
@item
-@uref{http://common-lisp.net/project/fomus/,FOMUS}, una biblioteca de LISP
-para generar notación musical a partir de entornos de software musical.
+@uref{http://strasheela.sourceforge.net,Strasheela}, un entorno
+construido sobre el lenguaje de restricciones
+@uref{http://www.mozart-oz.org/, Mozart/Oz}.
+
@end itemize
@divEnd
@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@ignore
- Translation of GIT committish: ae438b1b151ed80ec5e491ac4d6538bddf3e9446
+ Translation of GIT committish: 98d54187c3da37a2f2a7d21c2aeaa5f6dd148193
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@spanEnd
@end macro
-
@divClass{heading-center}
@ifclear web_version
@heading Manuales de LilyPond @version
@divEnd
-@c TODO: do we want these links to be in larger text / bold ? CSS.
+@divClass{link-headings}
@divClass{column-center-top}
@subheading Introducción
@itemize
-@item @ref{Entrada de texto}:
+@item
+@ref{Entrada de texto}:
LilyPond es un sistema de grabado musical @strong{basado en texto}.
¡Lea esto primero!
-@item @ifWebLinks{@manualStableLearningSplitNoName-es,@rlearningnamed{Top,Aprendizaje}}
+@item
+@ifWebLinks{@manualStableLearningSplitNoName-es,@rlearningnamed{Top,Aprendizaje}}
una introducción a LilyPond amable e @qq{imprescindible}.
@details{Aprendizaje}
-@item @ifWebLinks{@manualStableGlossarySplitNoName-es,@rglosnamed{Top,Glosario}}
+@item
+@ifWebLinks{@manualStableGlossarySplitNoName-es,@rglosnamed{Top,Glosario}}
@emph{(lectura opcional)} términos musicales y traducciones.
@details{Glosario}
-@item @ifWebLinks{@manualStableEssaySplitNoName-es,@ressaynamed{Top,Ensayo}}
+@item
+@ifWebLinks{@manualStableEssaySplitNoName-es,@ressaynamed{Top,Ensayo}}
@emph{(lectura opcional)} la información de trasfondo sobre grabado musical.
@details{Ensayo}
@itemize
-@item @ifWebLinks{@manualStableNotationSplitNoName-es,@rusernamed{Top,Notación}}
+@item
+@ifWebLinks{@manualStableNotationSplitNoName-es,@rusernamed{Top,Notación}}
referencia de la sintaxis.
@details{Notación}
-@item @ifWebLinks{@manualStableUsageSplitNoName-es,@rprogramnamed{Top,Utilización}}
+@item
+@ifWebLinks{@manualStableUsageSplitNoName-es,@rprogramnamed{Top,Utilización}}
cómo ejecutar los programas.
@details{Utilización}
-@item @ifWebLinks{@manualStableSnippetsSplitNoName-es,@rlsrnamed{Top,Fragmentos}}
+@item
+@ifWebLinks{@manualStableSnippetsSplitNoName-es,@rlsrnamed{Top,Fragmentos}}
trucos y consejos cortos.
@details{Fragmentos}
@itemize
-@item @ref{FAQ}:
+@item
+@ref{FAQ}:
Preguntas más frecuentes (Frequently Asked Questions).
-@item @ref{Web}:
+@item
+@ref{Web}:
este documento.
@details{Web}
-@item @ifWebLinks{@manualStableChangesSplitNoName-es,@rchangesnamed{Top,Cambios}}
+@item
+@ifWebLinks{@manualStableChangesSplitNoName-es,@rchangesnamed{Top,Cambios}}
¿qué hay de nuevo?
@details{Cambios}
-@item @ifWebLinks{@manualStableExtendingSplitNoName-es,@rextendnamed{Top,Extender}}
+@item
+@ifWebLinks{@manualStableExtendingSplitNoName-es,@rextendnamed{Top,Extender}}
trucos interesantes.
@details{Extender}
-@item @ifWebLinks{@manualStableInternalsSplitNoName-es,@rinternalsnamed{Top,Funcionamiento interno}}
+@item
+@ifWebLinks{@manualStableInternalsSplitNoName-es,@rinternalsnamed{Top,Funcionamiento interno}}
referencia sobre el trucaje.
@details{Funcionamiento interno}
@itemize
-@item @ref{Traducido}:
+@item
+@ref{Traducido}:
estado del proceso de traducción para los lectores no anglófonos.
-@item @ref{Todos}:
+@item
+@ref{Todos}:
enlaces rápidos, manuales descargables y manuales antiguos.
-@item @ref{Desarrollo}:
+@item
+@ref{Desarrollo}:
manuales para la versión de desarrollo.
-@item @ref{FDL}:
+@item
+@ref{FDL}:
estos manuales están publicados bajo la Licencia de Documentación
Libre de GNU.
@divEnd
+@divEnd
+
@divClass{hide}
@menu
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: bfd2f9b876b209255fcb8b063261db6953bb5181
+ Translation of GIT committish: b17e2f3d7a5853a30f7d5a3cdc6b5079e77a3d2a
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@c Translators: Francisco Vila
@c keep two blank lines between news entries
-@c FIXME: fill in number
-@c used for news about the upcoming release; see CG x.y
+@c used for news about the upcoming release; see CG 10.2
@newsItem
-@subsubheading ¡Probando nuestra nueva página! @emph{29 de junio de 2010}
+@subsubheading El Informe LilyPond, número 21. @emph{3 de octubre de 2010}
-¡Estamos probando nuestras nuevas páginas! Durante las próximas
-24 horas, las páginas predeterminadas serán las de nuestro nuevo sitio;
-después, cambiaremos de nuevo al sitio antiguo mientras
-examinamos el retorno de los usuarios y efectuamos algunas
-mejoras a las nuevas páginas.
-
-Envíe sus comentarios a @code{lilypond-user}; encontrará
-más información en nuestra página de @ref{Contacto}.
-
-@warning{Existen algunos problemas conocidos con las traducciones.
-Si no domina el inglés, quizá prefiera ver el sitio web anterior
-de LilyPond en: @uref{http://lilypond.org/web/}}
-
-@newsEnd
-
-
-@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.26! @emph{26 de junio de 2010}
-
-Nos complace anunciar el lanzamiento de LilyPond 2.13.26. Esta
-versión contiene el conjunto habitual de correcciones de fallos. Sin
-embargo, aún quedan algunos problemas críticos, por lo que esta
-versión está orientada solamente a los desarrolladores.
-@newsEnd
-
-@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.25! @emph{20 de junio de 2010}
-
-Nos complace anunciar el lanzamiento de LilyPond 2.13.25. Esta
-versión contiene el conjunto habitual de correcciones de fallos. Sin
-embargo, aún quedan algunos problemas críticos, por lo que esta
-versión está orientada solamente a los desarrolladores.
-@newsEnd
-
-
-@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.24! @emph{14 de junio de 2010}
+¡Vuelve el @emph{Informe LilyPond}, con sus dos editores: @qq{gruñón}
+y @qq{blandito}! Esta edición se ocupa principalmente de la notación
+microtonal en LilyPond, pero también incluye un tutorial sobre la
+forma de ejecutar LilyPond a partir de una memoria USB, sin olvidar
+las acostumbradas notas de lanzamientos, el fragmento de código del
+día y las noticias que nos llegan de la charca de las ranas.
+
+Acérquese al @uref{http://news.lilynet.net/The-LilyPond-Report-21,
+Informe LilyPond 21} y léalo ahora mismo; ¡animamos calurosamente a
+todos a que hagan sus comentarios y contribuciones!
-Nos complace anunciar el lanzamiento de LilyPond 2.13.24. Esta
-versión contiene el conjunto habitual de correcciones de fallos. Sin
-embargo, aún quedan algunos problemas críticos, por lo que esta
-versión está orientada solamente a los desarrolladores.
@newsEnd
-
@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.23! @emph{3 de junio de 2010}
+@subsubheading Segunda versión de pruebas Alfa de 2.14: ¡Lanzado LilyPond 2.13.35! @emph{29 de septiembre de 2010}
+
+Ha salido LilyPond 2.13.35; ésta es la segunda versión alfa de la
+inminente versión estable 2.14. Se invita a los usuarios a que hagan
+experimentos con esta versión. Las funcionalidades nuevas desde
+2.12.3 están relacionadas en el manual de @qq{Cambios} dentro de la
+sección @ref{Desarrollo} de estas páginas.
+
+Aún existen tres regresiones conocidas contra 2.12.3:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1173,
+Problema número 1173 - No se pueden alinear las MetronomeMarks sobre
+una nota si existe un silencio multicompás en otra voz}, y dos fallos
+de espaciado:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1240,
+Problema 1240} y
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1252,
+Problema 1252} pero esperamos encontrar más. Si se decide a probar
+2.13.35, no se sorprenda al encontrar problemas; tan sólo envíenos
+@ref{Informes de fallos} educados.
-Nos complace anunciar el lanzamiento de LilyPond 2.13.23. Esta
-versión contiene el conjunto habitual de correcciones de fallos. Sin
-embargo, aún quedan algunos problemas críticos, por lo que esta
-versión está orientada solamente a los desarrolladores.
@newsEnd
@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.22! @emph{27 de mayo de 2010}
+@subsubheading Versión de pruebas Alfa de 2.14: ¡Lanzado LilyPond 2.13.34! @emph{21 de septiembre de 2010}
+
+Ha salido LilyPond 2.13.34; ésta es la primera versión alfa de la
+inminente versión estable 2.14. Se invita a los usuarios a que hagan
+experimentos con esta versión. Las funcionalidades nuevas desde
+2.12.3 están relacionadas en el manual de @qq{Cambios} dentro de la
+sección @ref{Desarrollo} de estas páginas.
+
+Aún existe una regresión conocida contra 2.12.3:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1173,
+Problema número 1173 - No se pueden alinear las MetronomeMarks sobre una
+nota si existe un silencio multicompás en otra voz}, pero esperamos
+encontrar más. Si se decide a probar 2.13.34, no se sorprenda al
+encontrar problemas; tan sólo envíenos @ref{Informes de fallos}
+educados.
-Nos complace anunciar el lanzamiento de LilyPond 2.13.22. Esta
-versión contiene el conjunto habitual de correcciones de fallos. Sin
-embargo, aún quedan algunos problemas críticos, por lo que esta
-versión está orientada solamente a los desarrolladores.
@newsEnd
@newsItem
-@subsubheading ¡Lanzado LilyPond 2.13.21! @emph{12 de mayo de 2010}
+@subsubheading ¡Lanzado LilyPond 2.13.33! @emph{10 de septiembre de 2010}
-Nos complace anunciar el lanzamiento de LilyPond 2.13.21. Esta
+Nos complace anunciar el lanzamiento de LilyPond 2.13.33. Esta
versión contiene el conjunto habitual de correcciones de fallos. Sin
embargo, aún quedan algunos problemas críticos, por lo que esta
versión está orientada solamente a los desarrolladores.
-Esta versión debiera ser de especial interés
-para los mantenedores de paquetes: hemos hecho algunos
-cambios en el guión de configuración y en las bibliotecas
-requeridas. Aparte de algún posible informe urgente de fallo,
-éstos son el sistema de montaje y las bibliotecas que se van
-a utilizar en la próxima edición estable.
@newsEnd
-
-
-@newsItem
-@subsubheading El Informe LilyPond, número 18. @emph{11 de mayo de 2010}
-
-¡Vuelve el @emph{Informe LilyPond}, con sus dos editores: @qq{gruñón}
-y @qq{blandito}! Esta edición está repleta de emoción e interés,
-bolsas de papel y pentagramas terminados en zigzag, además de las
-secciones habituales Ranas y Bichos.
-
-Acérquese al @uref{http://news.lilynet.net/The-LilyPond-Report-18,
-Informe LilyPond 18} y léalo ahora mismo; ¡animamos calurosamente a
-todos a que hagan sus comentarios y contribuciones!
-@newsEnd
-
-
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: b4203b795d1842ec846a480a85af4044ada8a506
+ Translation of GIT committish: b17e2f3d7a5853a30f7d5a3cdc6b5079e77a3d2a
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@end ignore
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.32! @emph{3 de septiembre de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.32. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+@newsEnd
+
+
+@newsItem
+@subsubheading El Informe LilyPond, número 20. @emph{2 de septiembre de 2010}
+
+¡Vuelve el @emph{Informe LilyPond}, con sus dos editores: @qq{gruñón}
+y @qq{blandito}! Esta edición contiene la revisión de un editor de
+notación en línea que utiliza lilypond, además de las acostumbradas
+notas de lanzamientos, el fragmento de código del día, noticias desde
+la charca de las ranas y el informe de fallos del día.
+
+Acérquese al @uref{http://news.lilynet.net/The-LilyPond-Report-20,
+Informe LilyPond 20} y léalo ahora mismo; ¡animamos calurosamente a
+todos a que hagan sus comentarios y contribuciones!
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.31! @emph{24 de agosto de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.31. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.30! @emph{13 de agosto de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.30. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+@newsEnd
+
+
+@newsItem
+@subsubheading El Informe LilyPond, número 19. @emph{9 de agosto de 2010}
+
+¡Vuelve el @emph{Informe LilyPond}, con sus dos editores: @qq{gruñón}
+y @qq{blandito}! Esta edición contiene noticias sobre conferencias,
+además de las acostumbradas notas sobre lanzamientos, el fragmento de
+código del día, noticias desde la charca de las ranas, y el informe de
+fallo del día.
+
+Acérquese al @uref{http://news.lilynet.net/The-LilyPond-Report-19,
+Informe LilyPond 19} y léalo ahora mismo; ¡animamos calurosamente a
+todos a que hagan sus comentarios y contribuciones!
+@newsEnd
+
+
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.26! @emph{26 de junio de 2010}
+@subsubheading LilyPond 2.13.29 released! @emph{Aug 4, 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.26. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+We are happy to announce the release of LilyPond 2.13.29. This
+release contains the usual number of bugfixes. However, a number
+of critical issues still remain, so this release is intended for
+developers only.
+
+This release radically changes the autobeaming rules, so use extra
+caution and expect breakage.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.28! @emph{13 de julio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.28. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+Esta edición incluye ciertos cambios importantes, no suficientemente
+probados, en el editor lilypad para Windows. Los usuarios de Windows
+no deben utilizar esta versión porque está orientada solamente a los
+desarrolladores, pero si quiere ignorar nuestra advertencia y probarla
+de todas formas, tenga especial cuidado.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.27! @emph{5 de julio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.27. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Probando nuestra nueva página! @emph{29 de junio de 2010}
+
+¡Estamos probando nuestras nuevas páginas! Durante las próximas
+24 horas, las páginas predeterminadas serán las de nuestro nuevo sitio;
+después, cambiaremos de nuevo al sitio antiguo mientras
+examinamos el retorno de los usuarios y efectuamos algunas
+mejoras a las nuevas páginas.
+
+Envíe sus comentarios a @code{lilypond-user}; encontrará
+más información en nuestra página de @ref{Contacto}.
+
+@warning{Existen algunos problemas conocidos con las traducciones.
+Si no domina el inglés, quizá prefiera ver el sitio web anterior
+de LilyPond en: @uref{http://lilypond.org/web/}}
+
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.26! @emph{26 de junio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.26. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+@newsEnd
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.25! @emph{20 de junio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.25. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.24! @emph{14 de junio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.24. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.23! @emph{3 de junio de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.23. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.22! @emph{27 de mayo de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.22. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+@newsEnd
+
+
+@newsItem
+@subsubheading ¡Lanzado LilyPond 2.13.21! @emph{12 de mayo de 2010}
+
+Nos complace anunciar el lanzamiento de LilyPond 2.13.21. Esta
+versión contiene el conjunto habitual de correcciones de fallos. Sin
+embargo, aún quedan algunos problemas críticos, por lo que esta
+versión está orientada solamente a los desarrolladores.
+
+Esta versión debiera ser de especial interés
+para los mantenedores de paquetes: hemos hecho algunos
+cambios en el guión de configuración y en las bibliotecas
+requeridas. Aparte de algún posible informe urgente de fallo,
+éstos son el sistema de montaje y las bibliotecas que se van
+a utilizar en la próxima edición estable.
+@newsEnd
+
+
+@newsItem
+@subsubheading El Informe LilyPond, número 18. @emph{11 de mayo de 2010}
+
+¡Vuelve el @emph{Informe LilyPond}, con sus dos editores: @qq{gruñón}
+y @qq{blandito}! Esta edición está repleta de emoción e interés,
+bolsas de papel y pentagramas terminados en zigzag, además de las
+secciones habituales Ranas y Bichos.
+
+Acérquese al @uref{http://news.lilynet.net/The-LilyPond-Report-18,
+Informe LilyPond 18} y léalo ahora mismo; ¡animamos calurosamente a
+todos a que hagan sus comentarios y contribuciones!
+@newsEnd
+
+
@newsItem
@subsubheading ¡Lanzado LilyPond 2.13.20! @emph{5 de mayo de 2010}
@newsItem
@subsubheading El Informe LilyPond, número 17. @emph{1 de marzo de 2010}
-Viva, vuelve el Informe, con un equipo nuevo! Dicen que dos cabezas es
-mejor que una: ¿valdrá también para los diarios? Léalo y ¡díganos qué
-le parece! En esta edición hablaremos de páginas web y poesía, ranas
-y bichos, ¡por no mencionar una extensa reseña del editor Frescobaldi!
+¡Viva, vuelve el Informe, con un equipo nuevo! Dicen que dos cabezas
+es mejor que una: ¿valdrá también para los diarios? Léalo y ¡díganos
+qué le parece! En esta edición hablaremos de páginas web y poesía,
+ranas y bichos, ¡por no mencionar una extensa reseña del editor
+Frescobaldi!
¿A qué espera? Acérquese y
¡@uref{http://news.lilynet.net/The-LilyPond-Report-17, lea el Informe
%
-% TITLE=University of Colorado Engraving music bibliography
-% AUTHOR=Alyssa Lamb (edited & converted to bibtex by HWN)
+% title =University of Colorado Engraving music bibliography
+% author =Alyssa Lamb (edited & converted to bibtex by HWN)
%
@Book {jacob47:_music,
- author ={Jacob, Archibald},
- year=1947,
- title = {Musical handwriting : or, How to put music on paper : A handbook for all musicians, professional and amateur},
- address ={London},
- publisher ={Oxford University Press},
- note = {subject: Musical notation},
+ author = {Jacob, Archibald},
+ year = 1947,
+ title = {Musical handwriting : or, How to put music on paper : A handbook for all musicians, professional and amateur},
+ address = {London},
+ publisher = {Oxford University Press},
+ note = {subject: Musical notation},
}
@Book{brandt:_stand_chord_symbol_notat,
- author ={Carl Brandt and Clinton Roemer},
- title = {Standardized Chord Symbol Notation},
- address={Sherman Oaks, CA},
- publisher={Roerick Music Co.},
- note ={subject: musical notation},
+ author = {Carl Brandt and Clinton Roemer},
+ title = {Standardized Chord Symbol Notation},
+ address = {Sherman Oaks, CA},
+ publisher = {Roerick Music Co.},
+ note = {subject: musical notation},
}
@Book{johnson46:_how,
- author = {Johnson, Harold M},
- year = 1946,
- title = {How to write music manuscript an exercise-method handbook for the music student, copyist, arranger, composer, teacher},
- publisher={Carl Fischer, Inc.},
- address= {New York},
- note = {subject: Musical notation --Handbooks, manuals},
+ author = {Johnson, Harold M},
+ year = 1946,
+ title = {How to write music manuscript an exercise-method handbook for the music student, copyist, arranger, composer, teacher},
+ publisher = {Carl Fischer, Inc.},
+ address = {New York},
+ note = {subject: Musical notation --Handbooks, manuals},
}
@Book{sadie90:_music_print_publis,
- title = {Music Printing & Publishing},
- author ={Donald W. Krummel \& Stanley Sadie},
- year = 1990,
- publisher= {Macmillan Press},
- note ={subject: musical notation},
+ title = {Music Printing & Publishing},
+ author = {Donald W. Krummel \& Stanley Sadie},
+ year = 1990,
+ publisher = {Macmillan Press},
+ note = {subject: musical notation},
}
@Book{foss:_music_print,
- author={Foss, Hubert},
- title = {Music Printing},
- series = {Practical Printing and Binding},
- address={London},
- publisher={Oldhams Press Ltd., Long Acre},
- note ={subject: musical notation},
+ author = {Foss, Hubert},
+ title = {Music Printing},
+ series = {Practical Printing and Binding},
+ address = {London},
+ publisher = {Oldhams Press Ltd., Long Acre},
+ note = {subject: musical notation},
}
@Book{steele03:_earlies_englis_music_print,
- author = {Steele, Robert},
- year = 1903,
- title = {The Earliest English Music Printing},
- address={London},
- note= {subject: history of music printing and engraving},
+ author = {Steele, Robert},
+ year = 1903,
+ title = {The Earliest English Music Printing},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
@Book{austin:_story_music_print,
- author={Austin, Ernest},
- title = {The Story of Music Printing},
- address={London},
- publisher={Lowe and Brydone Printers, Ltd.},
- note= {subject: history of music printing and engraving},
-
+ author = {Austin, Ernest},
+ title = {The Story of Music Printing},
+ address = {London},
+ publisher = {Lowe and Brydone Printers, Ltd.},
+ note = {subject: history of music printing and engraving},
}
-
-
@Book{unknown_author:_pictor_histor_music_print,
- author={unknown author},
- title = {Pictorial History of Music Printing},
- address={Elhardt, Indiana},
- publisher={H. and A. Selmer, Inc.},
- note= {subject: history of music printing and engraving},
-
+ author = {unknown author},
+ title = {Pictorial History of Music Printing},
+ address = {Elhardt, Indiana},
+ publisher = {H. and A. Selmer, Inc.},
+ note = {subject: history of music printing and engraving},
}
@Book{wintermitz55:_music_autog_montev_hindem,
- author = {Wintermitz, Emmanuel},
- year = 1955,
- title = {Musical Autographs from Monteverdi to Hindemith},
- address={Princeton},
- publisher={Princeton University Press},
- note= {subject: history of music printing and engraving},
-
+ author = {Wintermitz, Emmanuel},
+ year = 1955,
+ title = {Musical Autographs from Monteverdi to Hindemith},
+ address = {Princeton},
+ publisher = {Princeton University Press},
+ note = {subject: history of music printing and engraving},
}
-
@Book{novello47:_some_accoun_method_music_print,
- author = {Novello, A},
- year = 1847,
- title = {Some Account of the Methods of Musick Printing, with Specimens of the Various Sizes of Moveable Types and of Other Matters},
- address={London},
- note={ subject: history of music printing and engraving},
+ author = {Novello, A},
+ year = 1847,
+ title = {Some Account of the Methods of Musick Printing, with Specimens of the Various Sizes of Moveable Types and of Other Matters},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
@Book{chrsander18:_sketc_histor_music,
- author={Chrsander, F.},
- year={18??},
- title={A Sketch of the HIstory of Music printing, from the 15th to the 16th century},
- note={ subject: history of music printing and engraving},
+ author = {Chrsander, F.},
+ year = {18??},
+ title = {A Sketch of the HIstory of Music printing, from the 15th to the 16th century},
+ note = {subject: history of music printing and engraving},
}
@Article {squire1897,
- author = {Squire, W},
- year = 1897,
- title = {Notes on Early Music Printing},
- journal = {Bibliographica},
- volume={iii},
- number=99,
- note={ subject: history of music printing and engraving},
-
+ author = {Squire, W},
+ year = 1897,
+ title = {Notes on Early Music Printing},
+ journal = {Bibliographica},
+ volume = {iii},
+ number = 99,
+ note = {subject: history of music printing and engraving},
}
@Article{meyer35:_print_music,
- author = {Meyer, K. and O'Meara, J},
- year = 1935,
- title = {The Printing of Music, 1473-1934},
- journal = {The Dolphin},
- volume={ ii},
- pages={ 171--207},
- note={ subject: history of music printing and engraving},
-
+ author = {Meyer, K. and O'Meara, J},
+ year = 1935,
+ title = {The Printing of Music, 1473-1934},
+ journal = {The Dolphin},
+ volume = {ii},
+ pages = {171--207},
+ note = {subject: history of music printing and engraving},
}
-%% 4th ver.,
+
+% 4th ver.,
@Article{pattison39:_notes_early_music_print,
- author = {Pattison, B},
- year = 1939,
- title = {Notes on Early Music Printing},
- journal = {The Library},
- note={subject: history of music printing and engraving},
- volume={xix},
- pages={389-421},
+ author = {Pattison, B},
+ year = 1939,
+ title = {Notes on Early Music Printing},
+ journal = {The Library},
+ note = {subject: history of music printing and engraving},
+ volume = {xix},
+ pages = {389-421},
}
@Book{king64:_four_hundr_years_music_print,
- author = {King, H},
- year = 1964,
- title = {Four Hundred Years of Music Printing},
- address={London},
- note={ subject: history of music printing and engraving},
+ author = {King, H},
+ year = 1964,
+ title = {Four Hundred Years of Music Printing},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
-
%(Rev.1961).
@Book{deutsch46:_music_number,
- author={Deutsch, O.F.},
- year =1946,
- title = {Music Publishers' Numbers},
- address={London},
- note={ subject: history of music printing and engraving},
+ author = {Deutsch, O.F.},
+ year = 1946,
+ title = {Music Publishers' Numbers},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
@Book{marco62:_earlies_music_print_contin_europ,
- author = {Marco, G.A},
- year = 1962,
- title = {The Earliest Music Printers of Continental Europe: a Checklist of Facsimiles Illustrating Their Work},
- address={Charlottesville, Virginia},
- note={ subject: history of music printing and engraving},
+ author = {Marco, G.A},
+ year = 1962,
+ title = {The Earliest Music Printers of Continental Europe: a Checklist of Facsimiles Illustrating Their Work},
+ address = {Charlottesville, Virginia},
+ note = {subject: history of music printing and engraving},
}
@Article{kinkeldey32:_music_and_music_print_incun,
- author = {Kinkeldey, O},
- year = 1932,
- title = {Music And Music Printing in Incunabula},
- journal = {Papers of the Bibliographical Society of America},
- volume={ xxvi},
- pages={89-118},
- note={ subject: history of music printing and engraving},
+ author = {Kinkeldey, O},
+ year = 1932,
+ title = {Music And Music Printing in Incunabula},
+ journal = {Papers of the Bibliographical Society of America},
+ volume = {xxvi},
+ pages = {89-118},
+ note = {subject: history of music printing and engraving},
}
@Book{oldman34:_collec_music_first_edition,
- author = {Oldman, C.B},
- year = 1934,
- title = {Collecting Musical First Editions},
- address={London},
- note={ subject: history of music printing and engraving},
+ author = {Oldman, C.B},
+ year = 1934,
+ title = {Collecting Musical First Editions},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
@Book{carter34:_new_paths_book_collec,
- author={Carter, J},
- year=1934,
- title = {New Paths in Book Collecting},
- address={London},
- note={ subject: history of music printing and engraving},
+ author = {Carter, J},
+ year = 1934,
+ title = {New Paths in Book Collecting},
+ address = {London},
+ note = {subject: history of music printing and engraving},
}
@Book{krummel58:_graph_analy_applic_early_americ_engrav_music,
- author={Krummel, D.W.},
- year=1958,
- month=9,
- title = {Graphic Analysis in Application to Early American Engraved Music},
- journal = {Notes},
- volume={xvi},
- pages=213,
- note={ subject: history of music printing and engraving},
+ author = {Krummel, D.W.},
+ year = 1958,
+ month = 9,
+ title = {Graphic Analysis in Application to Early American Engraved Music},
+ journal = {Notes},
+ volume = {xvi},
+ pages = 213,
+ note = {subject: history of music printing and engraving},
}
@Book{krummel71:_oblon_format_early_music_books,
- author = {Krummel, D.W},
- year = 1971,
- title = {Oblong Format in Early Music Books},
- journal = {The Library},
- volume={5th ser., xxvi},
- pages=312,
- note={ subject: history of music printing and engraving},
+ author = {Krummel, D.W},
+ year = 1971,
+ title = {Oblong Format in Early Music Books},
+ journal = {The Library},
+ volume = {5th ser., xxvi},
+ pages = 312,
+ note = {subject: history of music printing and engraving},
}
@Book{king73:_anniv_music_print,
- author = {King, A.H},
- year = 1973,
- title = {The 50th Anniversary of Music Printing},
+ author = {King, A.H},
+ year = 1973,
+ title = {The 50th Anniversary of Music Printing},
}
@Book{rastall82:_wester,
- author={Rastall, Richard},
- year=1982,
- title = {The notation of Western music : an introduction},
- address={New York, N.Y.},
- publisher={St. Martin's Press},
- note = {Musical notation},
-
-
+ author = {Rastall, Richard},
+ year = 1982,
+ title = {The notation of Western music : an introduction},
+ address = {New York, N.Y.},
+ publisher = {St. Martin's Press},
+ note = {Musical notation},
}
@Book{tappolet47:_la_notat_music,
- author = {Tappolet, Willy},
- year = 1947,
- title = {La Notation Musicale},
- address={Paris},
- note={subject: general notation},
- publisher={Neuch\^atel},
+ author = {Tappolet, Willy},
+ year = 1947,
+ title = {La Notation Musicale},
+ address = {Paris},
+ note = {subject: general notation},
+ publisher = {Neuchâtel},
}
@Book{williams03:_story_notat,
- author = {Williams, C.F. Abdy},
- year = 1903,
- title = {The Story of Notation},
- address={New York},
- publisher={Charles Scribner's Sons},
- note={subject: general notation},
+ author = {Williams, C.F. Abdy},
+ year = 1903,
+ title = {The Story of Notation},
+ address = {New York},
+ publisher = {Charles Scribner's Sons},
+ note = {subject: general notation},
}
@Book{apel53,
- author={Apel, Willi},
- year=1953,
- title = {The notation of polyphonic music, 900-1600},
- address={Cambridge, Mass},
- institution={Mediaeval Academy of America},
- note = {Musical notation},
+ author = {Apel, Willi},
+ year = 1953,
+ title = {The notation of polyphonic music, 900-1600},
+ address = {Cambridge, Mass},
+ institution= {Mediaeval Academy of America},
+ note = {Musical notation},
}
@Book{berger93:_mensur,
- author={Berger, Anna Maria Busse},
- year=1993,
- title = {Mensuration and proportion signs : origins and evolution},
- address={Oxford, England},
- publisher={Clarendon Press},
- scnd_address={New York},
- scnd_publisher={Oxford University Press },
- note={subject: early notation},
+ author = {Berger, Anna Maria Busse},
+ year = 1993,
+ title = {Mensuration and proportion signs : origins and evolution},
+ address = {Oxford, England},
+ publisher = {Clarendon Press},
+ scnd_address = {New York},
+ scnd_publisher = {Oxford University Press},
+ note = {subject: early notation},
}
@Book{parrish57,
- author={Parrish, Carl},
- year=1957,
- title = {The notation of medieval music},
- address={New York},
- publisher={Norton},
- note = {Musical notation},
-
-
+ author = {Parrish, Carl},
+ year = 1957,
+ title = {The notation of medieval music},
+ address = {New York},
+ publisher = {Norton},
+ note = {Musical notation},
}
@Book{parrish46:_notat_mediev_music,
- author = {Parrish, Carl},
- year = 1946,
- title = {The Notation of Medieval Music},
- address={New York},
- publisher={Carl Fischer, Inc.},
- note={subject: early notation},
+ author = {Parrish, Carl},
+ year = 1946,
+ title = {The Notation of Medieval Music},
+ address = {New York},
+ publisher = {Carl Fischer, Inc.},
+ note = {subject: early notation},
}
@Book{patch49:_genes_music,
- author = {Patch, Harry},
- year = 1949,
- title = {Genesis of a Music},
- address={Madison},
- publisher={University of Wisconsin Press},
- note={subject: early notation},
+ author = {Patch, Harry},
+ year = 1949,
+ title = {Genesis of a Music},
+ address = {Madison},
+ publisher = {University of Wisconsin Press},
+ note = {subject: early notation},
}
@Book{cage69:_notat,
- author={Cage, John},
- year=1969,
+ author = {Cage, John},
+ year = 1969,
title = {Notations},
- address={New York},
- publisher={Something Else Press},
- note = {Music, Manuscripts, Facsimiles.
-
- Facsimiles of holographs from the Foundation for Contemporary
- Performance Arts, with text by 269 composers, but rearranged using
- chance operations.,V)} },
+ address = {New York},
+ publisher = {Something Else Press},
+ note = {Music, Manuscripts, Facsimiles.
+ Facsimiles of holographs from the Foundation for Contemporary
+ Performance Arts, with text by 269 composers, but rearranged using
+ chance operations.,V)},
+}
@Book{gaburo77:_notat,
- author = {Gaburo, Virginia},
- year = 1977,
- title = {Notation},
- publisher={Lingua Press},
- address={La Jolla, California},
- note = {A Lecture about notation, new ideas about},
+ author = {Gaburo, Virginia},
+ year = 1977,
+ title = {Notation},
+ publisher = {Lingua Press},
+ address = {La Jolla, California},
+ note = {A Lecture about notation, new ideas about},
}
@Book{risatti75:_new_music_vocab,
- author = {Risatti, Howard},
- year = 1975,
- title = {New Music Vocabulary},
- address={Urbana, Illinois},
- publisher={University of Illinois Press},
- note = {A Guide to Notational Signs for Contemporary Music},
+ author = {Risatti, Howard},
+ year = 1975,
+ title = {New Music Vocabulary},
+ address = {Urbana, Illinois},
+ publisher = {University of Illinois Press},
+ note = {A Guide to Notational Signs for Contemporary Music},
}
-
-
@Book{cowell30:_new_music_resour,
- author = {Cowell, Henry},
- year = 1930,
- title = {New Musical Resources},
- address={New York},
- publisher={Alfred A. Knopf, Inc.},
- note={subject: 20th century notation},
+ author = {Cowell, Henry},
+ year = 1930,
+ title = {New Musical Resources},
+ address = {New York},
+ publisher = {Alfred A. Knopf, Inc.},
+ note = {subject: 20th century notation},
}
@Article{cowell27:_our_inadeq_notat,
- author = {Cowell, Henry},
- year = 1927,
- title = {Our Inadequate Notation},
- journal = {Modern Music},
- volume=4,
- number=3,
- note={subject: 20th century notation},
-
+ author = {Cowell, Henry},
+ year = 1927,
+ title = {Our Inadequate Notation},
+ journal = {Modern Music},
+ volume = 4,
+ number = 3,
+ note = {subject: 20th century notation},
}
@Book{bowers92:_music_letter,
- author = {Bowers, Roger},
- year = 1992,
- title = {Music & Letters},
- volume=73,
- number=3,
- month={August},
- pages={347(52)},
- note={Some reflection upon notation and proportion in Monteverdi's mass and vespers},
+ author = {Bowers, Roger},
+ year = 1992,
+ title = {Music & Letters},
+ volume = 73,
+ number = 3,
+ month = {August},
+ pages = {347(52)},
+ note = {Some reflection upon notation and proportion in Monteverdi's mass and vespers},
}
@Book{brainard92:_curren_music,
- author = {Brainard, Paul},
- year = 1992,
- title = {Current Musicology},
- number=50,
- month={July-Dec},
- pages={21(26)},
- note={Proportional notation in the music of Schutz and his contemporaries in the 17th Century},
+ author = {Brainard, Paul},
+ year = 1992,
+ title = {Current Musicology},
+ number = 50,
+ month = {July-Dec},
+ pages = {21(26)},
+ note = {Proportional notation in the music of Schutz and his contemporaries in the 17th Century},
}
@Book{monelle89:_compar_liter,
- author = {Monelle, Raymond},
- year = 1989,
- title = {Comparative Literature},
- volume=41, number=3,
- month={Summer},
- pages={252(18)},
-
- note={Music notation and the poetic foot},
+ author = {Monelle, Raymond},
+ year = 1989,
+ title = {Comparative Literature},
+ volume = 41,
+ number = 3,
+ month = {Summer},
+ pages = {252(18)},
+ note = {Music notation and the poetic foot},
}
@Book{pinegar93:_curren_music,
- author = {Pinegar, Sandra},
- year = 1993,
- title = {Current Musicology},
- number=53,
- month={July},
- pages={99(10)},
- note={The seeds of notation and music paleography.},
+ author = {Pinegar, Sandra},
+ year = 1993,
+ title = {Current Musicology},
+ number = 53,
+ month = {July},
+ pages = {99(10)},
+ note = {The seeds of notation and music paleography.},
}
@Book{smith90:_curren_music,
- author = {Smith, Norman E},
- year = 1990,
- title = {Current Musicology},
- number={45-47},
- month={Jan-Dec},
- pages={283(22)},
- note={The notation of fractio modi.},
+ author = {Smith, Norman E},
+ year = 1990,
+ title = {Current Musicology},
+ number = {45-47},
+ month = {Jan-Dec},
+ pages = {283(22)},
+ note = {The notation of fractio modi.},
}
@Book{treitler92:_journ_music,
- author = {Treitler, Leo},
- year = 1992,
- title = {The Journal of Musicology},
- volume=10,
- number=2,
- month={Spring},
- pages={131(61)},
-
- note={ The unwritten and written transmission, of medieval chant
- and the start-up of musical notation.
-
- Notational practice developed in medieval music to address the written tradition for chant which interacted with the unwritten vocal tradition.},
+ author = {Treitler, Leo},
+ year = 1992,
+ title = {The Journal of Musicology},
+ volume = 10,
+ number = 2,
+ month = {Spring},
+ pages = {131(61)},
+ note = {The unwritten and written transmission, of medieval chant
+ and the start-up of musical notation.
+ Notational practice developed in medieval music to address the written tradition for chant which interacted with the unwritten vocal tradition.},
}
@Book{west94:_music_letter,
- author = {West, M.L},
- year = 1994,
- title = {Music & Letters},
- volume=75,
- number=2,
- month={May},
- pages={161(19)},
- note={The Babylonian musical notation and the Hurrian melodic texts.
-
- A new way of deciphering the ancient Babylonian musical notation.
-}
+ author = {West, M.L},
+ year = 1994,
+ title = {Music & Letters},
+ volume = 75,
+ number = 2,
+ month = {May},
+ pages = {161(19)},
+ note = {The Babylonian musical notation and the Hurrian melodic texts.
+ A new way of deciphering the ancient Babylonian musical notation.}
}
@Book{brown86:_music_quart,
- author = {Brown, Earle},
- year = 1986,
- title = {Musical Quarterly},
- volume=72,
- month={Spring},
- pages={180(22)},
- note={The notation and performance of new music.},
+ author = {Brown, Earle},
+ year = 1986,
+ title = {Musical Quarterly},
+ volume = 72,
+ month = {Spring},
+ pages = {180(22)},
+ note = {The notation and performance of new music.},
}
@Book{eggleston94:_notes,
- author = {Eggleston, Suzanne},
- year = 1994,
- title = {Notes},
- volume=51,
- number=2,
- month={Dec},
- pages={657(7)},
- journal={New periodicals},
- note={A list of new music periodicals covering the period
- Jun.-Dec. 1994. Includes aims, formats and a description of the
- contents of each listed periodical. Includes Music Notation News},
-
+ author = {Eggleston, Suzanne},
+ year = 1994,
+ title = {Notes},
+ volume = 51,
+ number = 2,
+ month = {Dec},
+ pages = {657(7)},
+ journal= {New periodicals},
+ note = {A list of new music periodicals covering the period
+ Jun.-Dec. 1994. Includes aims, formats and a description of the
+ contents of each listed periodical. Includes Music Notation News},
}
@Book{fuller89:_journ_music,
- author = {Fuller, David},
- year = 1989,
- title = {The Journal of Musicology},
- volume=7,
- number=1,
- month={Winter},
- pages={21(8)},
- note={
- Notes and inegales unjoined: defending a definition. (written-out inequalities in music notation).
-}},
+ author = {Fuller, David},
+ year = 1989,
+ title = {The Journal of Musicology},
+ volume =7,
+ number = 1,
+ month = {Winter},
+ pages = {21(8)},
+ note = {Notes and inegales unjoined: defending a definition. (written-out inequalities in music notation).}
+},
@Book{jones90:_persp_new_music,
-
- author = {Jones, David Evan},
- year = 1990,
- title = {Perspectives of New Music},
- note={Speech extrapolated. (includes notation)}
+ author = {Jones, David Evan},
+ year = 1990,
+ title = {Perspectives of New Music},
+ note = {Speech extrapolated. (includes notation)}
}
@Book{lependorf89,
- author = {Lependorf, Jeffrey},
- year = 1989,
- journal={Perspectives of New Music},
- volume=27,
- title = {?},
- number=2,
- month={Summer},
- pages={232(20)},
- note={Contemporary notation for the shakuhachi: a primer for composers. (Tradition and Renewal in the Music of Japan) },
-
+ author = {Lependorf, Jeffrey},
+ year = 1989,
+ journal= {Perspectives of New Music},
+ volume = 27,
+ title = {?},
+ number = 2,
+ month = {Summer},
+ pages = {232(20)},
+ note = {Contemporary notation for the shakuhachi: a primer for composers. (Tradition and Renewal in the Music of Japan)},
}
@Book{rastall93:_music_letter,
- author = {Rastall, Richard},
- year = 1993,
- title = {Music & Letters},
- volume=74, number=4,
- month={November},
- pages={639(2)},
-
- note={Equal Temperament Music Notation: The Ailler-Brennink
- Chromatic Notation. Results and Conclusions of the Music Notation
- Refor by the Chroma Foundation (book reviews). },
+ author = {Rastall, Richard},
+ year = 1993,
+ title = {Music & Letters},
+ volume =74,
+ number = 4,
+ month = {November},
+ pages = {639(2)},
+ note = {Equal Temperament Music Notation: The Ailler-Brennink
+ Chromatic Notation. Results and Conclusions of the Music Notation
+ Refor by the Chroma Foundation (book reviews).},
}
@Article {Francois92,
- author={Francois, Jean-Charles},
- journal = {Perspectives of New Music},
- volume={30},
- number={1}, month={Winter},
- pages={6(15)},
- year={1992},
-
- note={subject: Modern music has outgrown notation. While the
- computer is used to write down music with accuracy never
- before achieved, the range of modern sounds has surpassed
- the relevance of the computer...},
-
- title={Writing without representation, and unreadable notation.},
+ author = {Francois, Jean-Charles},
+ journal = {Perspectives of New Music},
+ volume = {30},
+ number = {1},
+ month = {Winter},
+ pages = {6(15)},
+ year = {1992},
+ note = {subject: Modern music has outgrown notation. While the
+ computer is used to write down music with accuracy never
+ before achieved, the range of modern sounds has surpassed
+ the relevance of the computer...},
+ title = {Writing without representation, and unreadable notation.},
}
@Book{hamel89,
- author = {Hamel, Keith A},
- year = 1989,
- journal = {Perspectives of New Music},
- volume=27,
- number=1,
- month={Winter},
- pages={70(14)},
-
- title={A design for music editing and printing software based
-on notational syntax}, }
+ author = {Hamel, Keith A},
+ year = 1989,
+ journal = {Perspectives of New Music},
+ volume = 27,
+ number = 1,
+ month = {Winter},
+ pages = {70(14)},
+ title = {A design for music editing and printing software based
+on notational syntax},
+}
%
-% TITLE=The music notation with computer bibliography
-% AUTHOR=Han-Wen Nienhuys
+% title =The music notation with computer bibliography
+% author =Han-Wen Nienhuys
%
@String{CitH = {Computing and the Humanities}}
@String{CMJ = {Computer Music Journal}}
-
-
@Book {smith73,
- year = {1973},
+ year = {1973},
title = {Editing and Printing Music by Computer},
author = {Leland Smith},
totalentry = {Journal of Music Theory},
- volume={17},
- pages ={292-309},
-
+ volume = {17},
+ pages = {292-309},
note = {Gourlay [gourlay86] writes: A discussion of Smith's
music-printing system SCORE}
-
}
@Article {byrd74,
- year = {1974},
+ year = {1974},
title = {A System for Music Printing by Computer},
author = {Donald Byrd},
journal = {Computers and the Humanities},
- volume ={8},
- pages ={161-72},
+ volume = {8},
+ pages = {161-72},
}
-
@Article{ericson75,
- author = {R. F. Ericson},
- title = {The DARMS Project: A status report},
- journal = {Computing in the humanities},
- year = 1975,
- volume = 9,
- number = 6,
- pages = {291--298},
+ author = {R. F. Ericson},
+ title = {The DARMS Project: A status report},
+ journal = {Computing in the humanities},
+ year = 1975,
+ volume = 9,
+ number = 6,
+ pages = {291--298},
note = {Gourlay [gourlay86] writes: A discussion of the design
and potential uses of the DARMS music-description language.}
}
% Gomberg
@PhdThesis {gomber75,
- year = {1975},
+ year = {1975},
title = {A Computer-Oriented System for Music Printing},
author = {David A. Gomberg},
school = {Washington University},
@Book {gomberg,
title = {A Computer-oriented System for Music Printing},
author = {David A. Gomberg},
- journal = CitH,
- volume={11},
+ journal = CitH,
+ volume = {11},
month = {march},
year = {1977},
pages = {63-80},
-
note = {Gourlay [gourlay86] writes: "A discussion of the
problems of representing the conventions of musical notation in
computer algorithms."}
}
-
@TechReport{Ornstein83,
- author={Ornstein, Severo M. and John Turner Maxwell III},
- title={Mockingbird: A Composer's Amanuensis},
- institution={Xerox Palo Alto Research Center},
- address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
- number={CSL-83-2},
- month={January},
- year={1983}
+ author = {Ornstein, Severo M. and John Turner Maxwell III},
+ title = {Mockingbird: A Composer's Amanuensis},
+ institution = {Xerox Palo Alto Research Center},
+ address = {3333 Coyote Hill Road, Palo Alto, CA, 94304},
+ number = {CSL-83-2},
+ month = {January},
+ year = {1983}
}
@Article{Ornstein84,
- author={Ornstein, Severo M. and John Turner Maxwell III},
- title={Mockingbird: A Composer's Amanuensis},
- journal= {Byte},
- volume= 9,
+ author = {Ornstein, Severo M. and John Turner Maxwell III},
+ title = {Mockingbird: A Composer's Amanuensis},
+ journal = {Byte},
+ volume = 9,
month = {January},
- year= { 1984},
-
- note={A discussion of an interactive and graphical computer system
+ year = { 1984},
+ note = {A discussion of an interactive and graphical computer system
for music composition}
-
}
% byrd
@PhdThesis {byrd85,
- year = {1985},
+ year = {1985},
title = {Music Notation by Computer},
author = {Donald Byrd},
school = {Indiana University},
-
note = {Describes the SMUT (sic) system for automated music printout.}
}
@InProceedings{assayaag86,
- author = {G. Assayaag and D. Timis},
- title = {A Toolbox for music notation},
- booktitle = {Proceedings of the 1986 International Computer Music Conference},
- year = 1986
+ author = {G. Assayaag and D. Timis},
+ title = {A Toolbox for music notation},
+ booktitle = {Proceedings of the 1986 International Computer Music Conference},
+ year = 1986
}
@TechReport{roush88,
year = {1988},
title = {Music Formatting Guidelines},
author = {D. Roush},
- number = {OSU-CISRC-3/88-TR10},
+ number = {OSU-CISRC-3/88-TR10},
institution = {Department of Computer and Information Science, The Ohio State University},
-
note = {Rules on formatting music formulated for use in
computers. Mainly distilled from [Ross] HWN},
-
}
-
@Article{byrd94,
- author = {Donald Byrd},
- title = {Music Notation Software and Intelligence},
- journal = {Computer Music Journal},
-year = 1994,
-pages = {17--20},
- volume = 18,
- number = 1,
-
+ author = {Donald Byrd},
+ title = {Music Notation Software and Intelligence},
+ journal = {Computer Music Journal},
+ year = 1994,
+ pages = {17--20},
+ volume = 18,
+ number = 1,
note = {Byrd (author of Nightingale) shows four problematic
fragments of notation, and rants about notation programs that try to
exhibit intelligent behaviour. HWN}
}
-
@Article{field-richards93,
- author = {H.S. Field-Richards},
- title = {Cadenza: A Music Description Language},
- journal = CMJ,
- year = 1993,
- volume = 17,
- number = 4,
-
+ author = {H.S. Field-Richards},
+ title = {Cadenza: A Music Description Language},
+ journal = CMJ,
+ year = 1993,
+ volume = 17,
+ number = 4,
note = {A description through examples of a music entry language.
Apparently it has no formal semantics. There is also no
implementation of notation convertor. HWN}
-
}
@Article{bielawa93,
- author = {Herbert Bielawa},
- title = {Review of Sibelius 7},
- journal = CMJ,
- year = {1993?},
-
+ author = {Herbert Bielawa},
+ title = {Review of Sibelius 7},
+ journal = CMJ,
+ year = {1993?},
note = {A raving review/tutorial of Sibelius 7 for Acorn. (And did
they seriously program a RISC chip in ... assembler ?!) HWN}
-
-
}
@Article{sloan93,
- author = {Donald Sloan},
- title = {Aspects of Music Representation in HyTime/SMDL},
- journal = CMJ,
- year = 1993,
- volume = 17,
- number = 4,
-
-note = {An introduction into HyTime and its score description variant
+ author = {Donald Sloan},
+ title = {Aspects of Music Representation in HyTime/SMDL},
+ journal = CMJ,
+ year = 1993,
+ volume = 17,
+ number = 4,
+ note = {An introduction into HyTime and its score description variant
SMDL. With a short example that is quite lengthy in SMDL}
-
}
@Article{wiggins93,
- author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
- title = {A Framework for the evaluation of music representation systems},
- journal = CMJ,
- year = 1993,
- volume = 17,
- number = 3,
-
+ author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
+ title = {A Framework for the evaluation of music representation systems},
+ journal = CMJ,
+ year = 1993,
+ volume = 17,
+ number = 3,
note = {A categorisation of music representation systems (languages,
OO systems etc) splitted into high level and low level expressiveness.
The discussion of Charm and parallel processing for music
representation is rather vague. HWN}
-
}
-
-
@Article{dannenberg93,
- author = {Roger B. Dannenberg},
- title = {Music Representation: Issues, Techniques, and Systems},
- journal = CMJ,
- year = 1993,
- volume = 17,
- number = 3,
+ author = {Roger B. Dannenberg},
+ title = {Music Representation: Issues, Techniques, and Systems},
+ journal = CMJ,
+ year = 1993,
+ volume = 17,
+ number = 3,
url = {http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.44.6067},
-
note = {This article points to some problems and solutions with music
representation. HWN},
-
}
@Article{rothstein93,
- author = {Joseph Rothstein},
- title = {Review of Passport Designs' Encore Music Notation Software},
- journal = CMJ,
- year = {?},
-
-
+ author = {Joseph Rothstein},
+ title = {Review of Passport Designs' Encore Music Notation Software},
+ journal = CMJ,
+ year = {?},
}
-
-
@Article{belkin94,
- author = {Alan Belkin},
- title = {Macintosh Notation Software: Present and Future},
- journal = CMJ,
- year = 1994,
- volume = 18,
- number = 1,
-
+ author = {Alan Belkin},
+ title = {Macintosh Notation Software: Present and Future},
+ journal = CMJ,
+ year = 1994,
+ volume = 18,
+ number = 1,
note = {Some music notation systems are analysed for ease of use,
MIDI handling. The article ends with a plea for a standard notation
format. HWN},
-
}
@InProceedings{montel97,
- author = {Dominique Montel},
- title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
- booktitle = {Musique \& Notations},
- year = 1997,
- address={Lyon},
- editors ={Genevois \& Orlarey}
+ author = {Dominique Montel},
+ title = {La gravure de la musique, lisibilité esthétique, respect de l'oevre},
+ booktitle = {Musique \& Notations},
+ year = 1997,
+ address= {Lyon},
+ editors = {Genevois \& Orlarey}
}
-
-
-
@Book {CASR,
note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
title = {Directory of Computer Assisted Research in Musicology},
totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
}
-
@Book{selfridge-field97:_beyon_midi,
- title = {Beyond MIDI: the handbook of musical codes},
- editor = {Eleanor Selfridge-Field},
- publisher = {MIT Press},
- year = 1997,
-
+ title = {Beyond MIDI: the handbook of musical codes},
+ editor = {Eleanor Selfridge-Field},
+ publisher = {MIT Press},
+ year = 1997,
note = {A description of various music interchange formats.}
}
-
@InProceedings{hoos98:_guido_music_notat_format,
-title={The {GUIDO} Music Notation Format---A Novel Approach
+ title = {The {GUIDO} Music Notation Format---A Novel Approach
for Adequately Representing Score-level Music},
-author = {H. H. Hoos and K. A. Hamel and K. Renz and J. Kilian},
-booktitle = {Proceedings of International Computer Music Conference},
-year = 1998,
-pages = {451--454},
+ author = {H. H. Hoos and K. A. Hamel and K. Renz and J. Kilian},
+ booktitle = {Proceedings of International Computer Music Conference},
+ year = 1998,
+ pages = {451--454},
}
@Article {blostein91,
-
note = {This paper provides a overview of the algorithm used in LIME
for spacing individual lines. HWN},
-
- year = {1991},
+ year = {1991},
title = {Justification of Printed Music},
author = {Dorothea Blostein and Lippold Haken},
- journal = {Communications of the ACM},
- volume= {J34},
- number= {3},
- month= {March},
+ journal = {Communications of the ACM},
+ volume = {J34},
+ number = {3},
+ month = {March},
pages = {88-99},
}
-
@Article {haken93,
- year = {1993},
+ year = {1993},
title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
author = {Lippold Haken and Dorothea Blostein},
journal = {Computer Music Journal},
- volume= {17},
- number={3},
+ volume = {17},
+ number = {3},
pages = {43--58},
}
+
@Article{blostein94,
- author = {Dorothea Blostein and Lippold Haken},
- title = {The Lime Music Editor: A Diagram Editor Involving Complex
+ author = {Dorothea Blostein and Lippold Haken},
+ title = {The Lime Music Editor: A Diagram Editor Involving Complex
Translations},
- journal = {Software Practice and Experience},
- year = {1994},
- volume = {24},
- number = {3},
- month = {march},
- pages = {289--306},
-
+ journal = {Software Practice and Experience},
+ year = {1994},
+ volume = {24},
+ number = {3},
+ month = {march},
+ pages = {289--306},
note = {A description of various conversions, decisions and issues
relating to this interactive editor HWN},
-
}
-
-
@InProceedings{haken95,
- year = {1995},
+ year = {1995},
title = {A New Algorithm for Horizontal Spacing of Printed Music},
author = {Lippold Haken and Dorothea Blostein},
booktitle = {International Computer Music Conference},
- address={Banff},
- month={Sept},
+ address = {Banff},
+ month= {Sept},
pages = {118-119},
-
note = {This describes an algorithm which uses springs between
-adjacent columns. }, }
-
+adjacent columns.},
+}
@InProceedings{bouzaiene98:_une,
- author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
- title = {Une biblioth\`eque pour la notation musicale baroque},
- booktitle = {EP '98},
- year = 1998,
- series = {LNCS},
-
+ author = {Nabil Bouzaiene and Loïc Le Gall and Emmanuel Saint-James},
+ title = {Une bibliothèque pour la notation musicale baroque},
+ booktitle = {EP '98},
+ year = 1998,
+ series = {LNCS},
note = {Describes ATYS, an extension to Berlioz, that can mimick
handwritten baroque style beams}
}
-
-
-
@InProceedings{balaban88,
- author = {M. Balaban},
- title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
- booktitle = {Proceedings of the 1988 International Computer Music Conference},
- year = 1988,
- address = {San Francisco},
+ author = {M. Balaban},
+ title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
+ booktitle = {Proceedings of the 1988 International Computer Music Conference},
+ year = 1988,
+ address = {San Francisco},
organization = {International Computer Music Association}
}
%
@TechReport {gourlay87-spacing,
annote = {Algorithm for generating spacing in one line of (polyphonic) music, tailored for use with MusiCopy. LilyPond uses a variant of it.},
- year = {1987},
+ year = {1987},
title = {Spacing a Line of Music,},
author = {John S. Gourlay},
number = {OSU-CISRC-10/87-TR35},
- institution ={Department of Computer and Information Science, The Ohio State University},
+ institution = {Department of Computer and Information Science, The Ohio State University},
}
-
@TechReport {parish87,
annote = {A brief overview of {MusiCopy}},
- year = {1987},
+ year = {1987},
title = {{MusiCopy}: An automated Music Formatting System},
author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
totalentry = {OSU-CISRC-10/87-TR29},
- institution ={Department of Computer and Information Science, The Ohio State University},
+ institution = {Department of Computer and Information Science, The Ohio State University},
}
-
@TechReport {gourlay87-formatting,
note = {This paper discusses the development of algorithms for the
formatting of musical scores (from abstract). It also appeared at
PROTEXT III, Ireland 1986},
-
- year = {1987},
+ year = {1987},
title = {Computer Formatting of Music},
author = {John S. Gourlay and A. Parrish
and D. Roush and F. Sola and Y. Tien},
number = {OSU-CISRC-2/87-TR3},
- institution ={Department of Computer and Information Science,
+ institution = {Department of Computer and Information Science,
The Ohio State University},
}
-
@TechReport {hegazy87,
- year = {1987},
+ year = {1987},
title = {On the Implementation of the {MusiCopy} Language Processor,},
-
author = {Wael A. Hegazy},
number = {OSU-CISRC-10/87-TR34},
- institution={Department of Computer and Information Science, The Ohio State University},
-
+ institution= {Department of Computer and Information Science, The Ohio State University},
note = {Describes the "parser" which converts MusiCopy MDL to
MusiCopy Simultaneities and columns.
MusiCopy attaches graphic information to the objects constructed in
the input: the elements of the input are partially complete graphic
-objects.
-
-},
-
+objects.},
}
-
@TechReport {hegazy87-breaking-tr,
-
-annote = {This generalizes \TeX's breaking algorithm to music. It also
+ annote = {This generalizes \TeX's breaking algorithm to music. It also
appeared in Document Manipulation and Typography, J.C. van Vliet (ed)
1988},
-
- year = {1987},
-
+ year = {1987},
title = {Optimal line breaking in music},
author = {Wael A. Hegazy and John S. Gourlay},
number = {OSU-CISRC-8/87-TR33},
- institution={Department of Computer and Information Science, The Ohio State University,},
+ institution= {Department of Computer and Information Science, The Ohio State University,},
}
@InProceedings{hegazy88:_optim,
author = {Wael A. Hegazy and John S. Gourlay},
-booktitle = {Proceedings of the International Conference on
+ booktitle = {Proceedings of the International Conference on
Electronic Publishing, Document Manipulation and Typography. Nice (France)},
-month = {April},
-year =1988,
-editor={J. C. van Vliet},
-publisher = {Cambridge University Press},
-ISBN={0-521-36294-6},
+ month = {April},
+ year = 1988,
+ editor = {J. C. van Vliet},
+ publisher = {Cambridge University Press},
+ ISBN = {0-521-36294-6},
title = {Optimal line breaking in music},
}
-
@TechReport {roush87,
- note = {User manual of MusiCopy. },
-
- year = {1987},
+ note = {User manual of MusiCopy.},
+ year = {1987},
title = {Using {MusiCopy}},
author = {Dean K. Roush},
number = {OSU-CISRC-18/87-TR31},
- institution={Department of Computer and Information Science, The Ohio State University},
+ institution= {Department of Computer and Information Science, The Ohio State University},
}
-
@TechReport {parrish87-simultaneities,
-
-note = {This note discusses
+ note = {This note discusses
placement of balls, stems, dots which occur at the same moment
("Simultaneity")},
-
- year = {1987},
+ year = {1987},
title = {Computer Formatting of Musical Simultaneities,},
author = {A. Parrish and John S. Gourlay},
- institution={Department of Computer and Information Science, The Ohio State University},
+ institution= {Department of Computer and Information Science, The Ohio State University},
number = {OSU-CISRC-10/87-TR28},
}
-
@TechReport {sola87,
note = {Overview of a procedure for generating slurs},
- year = {1987},
+ year = {1987},
title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
author = {F. Sola},
- institution={Department of Computer and Information Science, The Ohio State University},
+ institution= {Department of Computer and Information Science, The Ohio State University},
number = {OSU-CISRC-10/87-TR32},
}
-
@Article {gourlay86,
note = {This paper describes the MusiCopy musicsetting system and an input language to go with it.},
-
- year = {1986},
+ year = {1986},
title = {A language for music printing},
author = {John. S. Gourlay},
journal = {Communications of the ACM},
- volume= {29},
- number ={5},
+ volume = {29},
+ number = {5},
pages = {388--401},
}
-
@TechReport {sola87-beams,
-
-institution={Department of Computer and Information Science, The Ohio
+ institution= {Department of Computer and Information Science, The Ohio
State University},
-
note = {Calculating beam slopes HWN},
- year = {1987},
+ year = {1987},
title = {Design of Musical Beams,},
author = {F. Sola and D. Roush},
number = {OSU-CISRC-10/87-TR30},
}
-
@PhdThesis {page88,
note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
- year = {1988},
+ year = {1988},
title = {Computer Tools for Music Information Retrieval},
author = {Stephen Dowland Page},
- school ={Dissertation University of Oxford},
+ school = {Dissertation University of Oxford},
}
-
%
-% three part study by John Gr/over
+% three part study by John Grøver
@TechReport{grover89-symbols,
- author = {John Gr\/over},
- title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
- institution = {Department of informatics, University of Oslo},
- year = 1989,
- number = 133,
-
-note = {The goal of this series of reports is a full description of
+ author = {John Grøver},
+ title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
+ institution = {Department of informatics, University of Oslo},
+ year = 1989,
+ number = 133,
+ note = {The goal of this series of reports is a full description of
music formatting. As these largely depend on parameters of fonts, it
starts with a verbose description of music symbols.
- The subject is treated backwards: from general rules of typesetting
+The subject is treated backwards: from general rules of typesetting
the author tries to extract dimensions for characters, whereas the
rules of typesetting (in a particular font) follow from the dimensions
of the symbols. His symbols do not match (the stringent) constraints
-formulated by eg. [wanske]} }
+formulated by eg. [wanske]},
+}
@TechReport{grover89-twovoices,
- author = {John Gr\/over},
- title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
-
- institution = {Department of informatics, University of Oslo},
- year = 1989,
- number = 134,
-
+ author = {John Grøver},
+ title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
+ institution = {Department of informatics, University of Oslo},
+ year = 1989,
+ number = 134,
note = {A lot rules for what is in the title are formulated. The
descriptions are long and verbose. The verbosity shows that
formulating specific rules is not the proper way to approach the
}
@TechReport{grover89-accidentals,
- author = {John Gr\/over},
- title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
- institution = {Department of informatics, University of Oslo},
- year = 1989,
- number = 135,
-
-note = {Placement of accidentals crystallised in an enormous set of
-rules. Same remarks as for [grover89-twovoices] applies} }
-
+ author = {John Grøver},
+ title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
+ institution = {Department of informatics, University of Oslo},
+ year = 1989,
+ number = 135,
+ note = {Placement of accidentals crystallised in an enormous set of
+rules. Same remarks as for [grover89-twovoices] applies},
+}
@PhdThesis{mueller90:_inter_bearb_musik,
- author = {Giovanni M\"uller},
- title = {Interaktive Bearbeitung konventioneller Musiknotation},
- school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
- year = 1990,
-
-note = {This is about engraver-quality typesetting with computers. It
+ author = {Giovanni Müller},
+ title = {Interaktive Bearbeitung konventioneller Musiknotation},
+ school = {Eidgenössischen Technischen Hochschule Zürich},
+ year = 1990,
+ note = {This is about engraver-quality typesetting with computers. It
accepts the axiom that notation is too difficult to generate
automatically. The result is that a notation program should be a
-WYSIWYG editor that allows one to tweak everything.
+WYSIWYG editor that allows one to tweak everything.},
}
-}
-
-
-
-
-
@MastersThesis{roelofs91,
-
-note = {This dutch thesis describes a monophonic typesetting system,
+ note = {This dutch thesis describes a monophonic typesetting system,
and focuses on the breaking algorithm, which is taken from Hegazy &
- Gourlay },
-
- year = {1991},
+ Gourlay},
+ year = {1991},
title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
- author = {Ren\'e Roelofs},
- school={Erasmus Universiteit Rotterdam},
- number={45327},
+ author = {René Roelofs},
+ school= {Erasmus Universiteit Rotterdam},
+ number= {45327},
translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
}
-
@Article {filgueiras93,
- year = {1993},
+ year = {1993},
title = {Representation and manipulation of music documents in SceX},
- author = {Miguel Filgueiras and Jos\'e Paulo Leal},
- journal= {Electronic Publishing},
- volume={6},
- number={4}, pages = {507--518},
- url={http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.17.1480},
+ author = {Miguel Filgueiras and José Paulo Leal},
+ journal = {Electronic Publishing},
+ volume = {6},
+ number= {4}, pages = {507--518},
+ url= {http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.17.1480},
}
-
@Article {foxley87,
-
-note = {A paper on a simple TROFF preprocessor to typeset music. },
-
- year = {1987},
+ note = {A paper on a simple TROFF preprocessor to typeset music.},
+ year = {1987},
title = {Music --- A language for typesetting music scores},
author = {Eric Foxley},
journal = {Software --- Practice and Experience},
}
@Article {Langston90,
-
note = {This paper deals with some command-line
- tools for music editing and playback. },
-
- year = {1990},
+ tools for music editing and playback.},
+ year = {1990},
title = {Unix music tools at Bellcore},
author = {Peter S. Langston},
- journal={Software --- Practice and Experience},
- volume={20},
- number={S1},
- pages={47--61},
+ journal = {Software --- Practice and Experience},
+ volume = {20},
+ number= {S1},
+ pages = {47--61},
}
-
@Book {filgueiras96,
year = {1996},
title = {Implementing a Symbolic Music Processing System},
totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
}
-
@Article {colorado-web,
- author ={Alyssa Lamb},
-
+ author = {Alyssa Lamb},
note = {Webpages about engraving (designed with finale
users in mind) (sic) HWN},
-
institution = {The University of Colorado},
- title ={The University of Colorado Music Engraving page.},
- HTML={http://www.cc.colorado.edu/Dept/MU/Musicpress/},
- year={1996}
+ title = {The University of Colorado Music Engraving page.},
+ HTML= {http://www.cc.colorado.edu/Dept/MU/Musicpress/},
+ year = {1996}
}
@Article {tablature-web,
note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
title = {how to read and write tab: a guide to tab notation},
author = {Howard Wright},
- email={Howard.Wright@ed.ac.uk},
- url={http://www.guitartabs.cc/tabfaq.shtml},
+ email= {Howard.Wright@ed.ac.uk},
+ url= {http://www.guitartabs.cc/tabfaq.shtml},
}
@Article {niff-web,
-
note = {Specs for NIFF, a reasonably comprehensive but binary
format for notation HWN},
-
- year = {1995},
+ year = {1995},
title = {NIFF6a Notation Interchange File Format},
author = {Cindy Grande},
- publisher={Grande Software Inc.},
+ publisher= {Grande Software Inc.},
HTML= {http://www.jtauber.com/music/encoding/niff/},
ftp = {ftp://blackbox.cartah.washington.edu}
}
@Article {smdl-web,
author = {International Organization for Standardization (ISO)},
title = {Information Technology - Document Description and Processing Languages - Standard Music Description Language (SMDL)},
- pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
- number={ISO/IEC DIS 10743},
+ pdf = {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
+ number = {ISO/IEC DIS 10743},
year = {1992},
annote = {SGML instance for describing music. Very comprehensive in music
definition, but no support for notation / performance whatsoever (They
-basically say: "You can embed a NIFF or MIDI file")}
+basically say: "You can embed a NIFF or MIDI file")},
}
-
@Article {rader96,
-
note = {Describes a system called MusicEase, and explains that it
uses "constraints" (which go unexplained) to automatically position
- various elements. },
- html={http://mesastate.edu/~grader/ieeeme.pdf},
- year = {1996},
+ various elements.},
+ html = {http://mesastate.edu/~grader/ieeeme.pdf},
+ year = {1996},
title = {Creating Printed Music Automatically},
author = {Gary M. Rader},
journal = {Computer},
- volume={29},
- number={6},
- month={June},
+ volume = {29},
+ number= {6},
+ month= {June},
pages = {61--69},
}
-
@MastersThesis{gall97:_creat,
- author = {Lo\"ic Le Gall},
- title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
- school = {\'Ecole Estienne},
+ author = {Loïc Le Gall},
+ title = {Création d'une police adaptée à la notation musicale baroque},
+ school = {École Estienne},
year = 1997,
}
@TechReport{droettboom00:_study_notat_descr_languag,
- author = {Michael Droettboom},
- title = {Study of music Notation Description Languages},
- year = 2000,
- url= {http://www.music.mcgill.ca/~ich/research/omr/levy/format.pdf},
-
- note ={GUIDO and lilypond compared. LilyPond wins on practical
+ author = {Michael Droettboom},
+ title = {Study of music Notation Description Languages},
+ year = 2000,
+ url = {http://www.music.mcgill.ca/~ich/research/omr/levy/format.pdf},
+ note = {GUIDO and lilypond compared. LilyPond wins on practical
issues as usability and availability of tools, GUIDO wins on
-implementation simplicity.} }
+implementation simplicity.},
+}
@PhdThesis{gieseking01:_code_gener_noten,
- author = {Martin Gieseking},
- title = {Code-basierte Generierung interaktiver Notengraphik
-
-},
- school = {Universit\"at Osnabr\"uck},
- year = 2001,
+ author = {Martin Gieseking},
+ title = {Code-basierte Generierung interaktiver Notengraphik},
+ school = {Universität Osnabrück},
+ year = 2001,
isbn = {ISBN 3-923486-30-8}
}
@Book{hewlett01:_virtual_score,
- editor = {Walter B. Hewlett and Eleanor Selfridge-Field},
- title = {The Virtual Score; representation, retrieval and restoration},
- publisher = {MIT Press},
-series = {Computing in Musicology},
- year = 2001
+ editor = {Walter B. Hewlett and Eleanor Selfridge-Field},
+ title = {The Virtual Score; representation, retrieval and restoration},
+ publisher = {MIT Press},
+ series = {Computing in Musicology},
+ year = 2001
}
-
-
@PhdThesis{renz02:_algor_guido,
- author = {Kai Renz},
- title = {Algorithms and data structures for a music notation system based on GUIDO music notation},
- school = {Universit\"at Darmstadt},
- year = 2002
+ author = {Kai Renz},
+ title = {Algorithms and data structures for a music notation system based on GUIDO music notation},
+ school = {Universität Darmstadt},
+ year = 2002
}
@InBook{powell02:_music,
- author = {Steven Powell},
- title = {Music engraving today},
- publisher = {Brichtmark},
- year = 2002,
-
- note = {A "How Steven uses Finale" manual.}
+ author = {Steven Powell},
+ title = {Music engraving today},
+ publisher = {Brichtmark},
+ year = 2002,
+ note = {A "How Steven uses Finale" manual.}
}
-
@InProceedings{nienhuys03:_lilyp,
- author = {Han-Wen Nienhuys and Jan Nieuwenhuizen},
- title = {LilyPond, a system for automated music engraving},
- booktitle = {XIV Colloquium on Musical Informatics},
- year = 2003,
+ author = {Han-Wen Nienhuys and Jan Nieuwenhuizen},
+ title = {LilyPond, a system for automated music engraving},
+ booktitle = {XIV Colloquium on Musical Informatics},
+ year = 2003,
pages = {167--172},
- address = {Firenze},
- month = {May}
+ address = {Firenze},
+ month = {May}
}
-
% with the existing engraving.itely file. -gp
%
-% TITLE=The engraving bibliography
-% AUTHOR=Han-Wen Nienhuys
+% TITLe =The engraving bibliography
+% AUTHOr =Han-Wen Nienhuys
%
-
@Book{banter,
- author = {Harald Banter},
- title = {Akkord Lexikon},
- publisher = {Schott's S\"ohne},
- year = {1987},
- isbn = {ISBN 3-7957-2095-8},
- note = {Comprehensive overview of commonly used
+ author = {Harald Banter},
+ title = {Akkord Lexikon},
+ publisher = {Schott's Söhne},
+ year = {1987},
+ isbn = {ISBN 3-7957-2095-8},
+ note = {Comprehensive overview of commonly used
chords. Suggests (and uses) a unification for all different kinds
of chord names.},
- address = {Mainz, Germany},
+ address = {Mainz, Germany},
}
-
-
@Book{rastall,
- author = {Richard Rastall},
- ALTeditor = {},
- title = {The Notation of Western Music: an
+ author = {Richard Rastall},
+ ALTeditor = {},
+ title = {The Notation of Western Music: an
Introduction},
- publisher = {J. M. Dent \& Sons London},
- year = {1983},
+ publisher = {J. M. Dent \& Sons London},
+ year = {1983},
note = {Interesting account of the evolution and origin of common notation starting from neumes, and ending with modern innovations HWN},
}
-
@Book{ignatzek95:_jazzm_klavier,
- author = {Klaus Ignatzek},
- title = {Die Jazzmethode f\"ur Klavier 1},
- publisher = {Schott},
- year = 1995,
- note = {This book contains a system for denoting chords that is used in LilyPond.}
+ author = {Klaus Ignatzek},
+ title = {Die Jazzmethode für Klavier 1},
+ publisher = {Schott},
+ year = 1995,
+ note = {This book contains a system for denoting chords that is used in LilyPond.}
}
@Book{mcgrain,
- author = {Mark Mc Grain},
- title = {Music notation},
- year = 1991,
- publisher={Hal Leonard Publishing Corporation},
-isbn ={0793508479},
-note={HWN writes: `Book' edition of lecture notes from XXX school of
+ author = {Mark Mc Grain},
+ title = {Music notation},
+ year = 1991,
+ publisher = {Hal Leonard Publishing Corporation},
+ isbn = {0793508479},
+ note = {HWN writes: `Book' edition of lecture notes from XXX school of
music. The book looks like it is xeroxed from bad printouts. The
content has nothing you won't find in other books like [read] or
[heussenstamm]. }
}
@Book{ross,
- author = {Ted Ross},
- title = {Teach yourself the art of music engraving and processing},
- publisher = {Hansen House},
- year = 1987,
-annote = {This is about engraving, i.e. professional typesetting. It contains
+ author = {Ted Ross},
+ title = {Teach yourself the art of music engraving and processing},
+ publisher = {Hansen House},
+ year = 1987,
+ annote = {This is about engraving, i.e. professional typesetting. It contains
directions on good typesetting, but the sections on reproduction
technicalities, how to use pens and history are interesting.
Especially the section on Music Typewriters is amusing HWN},
- address = {Miami, Florida},
+ address = {Miami, Florida},
}
@Book {read78,
note = {Sound (boring) review of the various hairy rhythmic notations used by avant-garde composers HWN},
- year = {1978},
+ year = {1978},
title = {Modern Rhythmic Notation},
author = {Gardner Read},
publisher = {Indiana University Press},
@Book {read-notation,
note = {This is as close to the ``standard''
- reference work for music notation issues as one is likely to get.},
-
+reference work for music notation issues as one is likely to get.},
title = {Music Notation: a Manual of Modern Practice},
author = {Gardner Read},
totalentry = {(2nd edition)},
year = 1979,
- publisher ={Taplinger Publishing},
- address ={New York},
+ publisher = {Taplinger Publishing},
+ address = {New York},
}
@Book {weaner93,
- year = {1993},
+ year = {1993},
title = {Standard Music Notation Practice},
author = {Maxwell Weaner and Walter Boelke},
totalentry = {revised edition by Arnold Broido and Daniel Dorff.},
address = {New York}
}
-
@Book {wanske,
-
annote = {I. A very thorough overview of engraving practices of various
- craftsmen. It includes detailed specs of characters, dimensions
- etc. II. a thorough overview of a anonymous (by now antiquated)
- automated system. EDV Means e(lektronischen) D(aten)v(erarbeitung),
- electronic data processing HWN.},
-
- year = {1988},
+craftsmen. It includes detailed specs of characters, dimensions
+etc. II. a thorough overview of a anonymous (by now antiquated)
+automated system. EDV Means e(lektronischen) D(aten)v(erarbeitung),
+electronic data processing HWN.},
+ year = {1988},
title = {Musiknotation --- Von der Syntax des
- Notenstichs zum EDV-gesteuerten Notensatz},
+Notenstichs zum EDV-gesteuerten Notensatz},
author = {Helene Wanske},
publisher = {Schott-Verlag},
address = {Mainz},
isbn = {ISBN 3-7957-2886-x},
}
-
@Book {hader48,
- year = {1948},
+ year = {1948},
title = {Aus der Werkstatt eines Notenstechers},
author = {Karl Hader},
publisher = {Waldheim--Eberle Verlag},
- address ={Vienna},
-
+ address = {Vienna},
note = {Hader was a chief-engraver in a Viennese engraving
workshop. This beautiful booklet was intended as an introduction for
laymen on the art of engraving. It contains a step by step, in-depth
explanation of how to cut and stamp music into zinc plates. It also
contains a few compactly formulated rules on musical orthography. Out
-of print. }
-
-
+of print.}
}
@Book{gamble23:_music_engrav,
- author = {William Gamble},
- title = {Music Engraving and printing. Historical and Technical Treatise},
- publisher = {Sir Isaac Pitman & Sons, ltd.},
- year = 1923,
+ author = {William Gamble},
+ title = {Music Engraving and printing. Historical and Technical Treatise},
+ publisher = {Sir Isaac Pitman & Sons, ltd.},
+ year = 1923,
note = {This patriotic book was an attempt to promote and help
- British music engravers. It is somewhat similar to Hader's
- book [hader48] in scope and style, but Gamble focuses more on
- technical details (Which French punch cutters are worth buying from,
- etc.), and does not treat typographical details, such as optical
- illusions. It is available as reprint from Da Capo Press, New York
- (1971).}
+British music engravers. It is somewhat similar to Hader's
+book [hader48] in scope and style, but Gamble focuses more on
+technical details (Which French punch cutters are worth buying from,
+etc.), and does not treat typographical details, such as optical
+illusions. It is available as reprint from Da Capo Press, New York
+(1971).}
}
-
@Booklet {mpa96,
note = {Pamphlet explaining a few fine points in music font design HWN},
- year = {1996},
+ year = {1996},
title = {Standard music notation specifications for computer programming.},
- month = {December},
- author ={mpa},
+ month = {December},
+ author = {mpa},
publisher = {MPA},
}
-
@Book {donato63,
- year = {1963},
+ year = {1963},
author = {Anthony Donato},
- title ={Preparing Music Manuscript},
- address ={Englewood Cliffs, NJ},
- publisher={Prentice-Hall},
+ title = {Preparing Music Manuscript},
+ address = {Englewood Cliffs, NJ},
+ publisher = {Prentice-Hall},
}
-
@Book {Karkoshka72,
- year = {1972},
+ year = {1972},
title = {Notation in New Music; a critical guide to interpretation and realisation},
author = {Erdhard Karkoshka},
- translator={Ruth Koenig},
- publisher={Praeger Publishers},
- address={New York},
- note ={(Out of print)},
+ translator = {Ruth Koenig},
+ publisher = {Praeger Publishers},
+ address = {New York},
+ note = {(Out of print)},
}
-
@Book {Roemer84,
- year = {1984},
+ year = {1984},
title = {The Art of Music Copying},
author = {Clinton Roemer},
- publisher={Roerick music co.},
- address= {Sherman Oaks (CA)},
-
- note ={Out of print. Heussenstamm writes: an instructional manual
- which specializes in methods used in the commercial field. },
- edition={2nd},
+ publisher = {Roerick music co.},
+ address = {Sherman Oaks (CA)},
+ note = {Out of print. Heussenstamm writes: an instructional manual
+which specializes in methods used in the commercial field. },
+ edition = {2nd},
}
-
@Book {Rosecrans79,
- year = {1979},
+ year = {1979},
title = {Music Notation Primer},
author = {Glen Rosecrans},
- publisher={Passantino},
- address={New York},
- note={Heussenstamm writes: Limited in scope, similar to [Roemer84]}
+ publisher = {Passantino},
+ address = {New York},
+ note = {Heussenstamm writes: Limited in scope, similar to [Roemer84]}
}
@Book {donemus1982,
- year = {1982},
+ year = {1982},
title = {Uitgeven van muziek},
-subtitle = {Handleiding voor componisten en copiisten},
+ subtitle = {Handleiding voor componisten en copiisten},
author = {Donemus},
- publisher= {Donemus Amsterdam},
-
+ publisher = {Donemus Amsterdam},
note = {Manual on copying for composers and copyists at the Dutch
- publishing house Donemus. Besides general comments on copying, it
- also contains a lot of hands-on advice for making performance
- material for modern pieces.}
-
+publishing house Donemus. Besides general comments on copying, it
+also contains a lot of hands-on advice for making performance
+material for modern pieces.}
}
-
@Book{vinci,
-author={Vinci, Albert C.},
-title={Fundamentals of Traditional Music Notation},
-publisher={Kent State University Press},
-year={1989}
+ author = {Vinci, Albert C.},
+ title = {Fundamentals of Traditional Music Notation},
+ publisher = {Kent State University Press},
+ year = {1989}
}
@Book{schirmer90,
- author={{G. Schirmer, Inc.}},
- title={The G. Schirmer Manual of Style and Usage},
- address={New York},
- publisher={The G. Schirmer Publications Department},
- year={2001},
-note={This is the style guide for Schirmer publications. This manual
+ author = {{G. Schirmer, Inc.}},
+ title = {The G. Schirmer Manual of Style and Usage},
+ address = {New York},
+ publisher = {The G. Schirmer Publications Department},
+ year = {2001},
+ note = {This is the style guide for Schirmer publications. This manual
specifically focuses on preparing print for publication by
Schirmer. It discusses many details that are not in other, normal
notation books. It also gives a good idea of what is necessary to bring
-printouts to publication quality.
-It can be ordered from the rental department.
-
-
-}
+printouts to publication quality. It can be ordered from the rental department.},
}
-
@Book {Stone80,
- year = {1980},
+ year = {1980},
title = {Music Notation in the Twentieth Century},
author = {Kurt Stone},
- publisher= {Norton},
- address={New York},
- note ={Heussenstamm writes: The most important book on notation in recent years. },
-
+ publisher = {Norton},
+ address = {New York},
+ note = {Heussenstamm writes: The most important book on notation in recent years.},
}
+
@Book {Heussenstamm87,
- year = {1987},
+ year = {1987},
title = {The Norton Manual of Music Notation},
author = {George Heussenstamm},
- address= {New York},
- publisher={Norton},
- note={Hands-on instruction book for copying (ie. handwriting) music. Fairly complete. HWN}
+ address = {New York},
+ publisher = {Norton},
+ note = {Hands-on instruction book for copying (ie. handwriting) music. Fairly complete. HWN}
}
-
@Book {gerou96,
- note = {A cheap, concise, alphabetically ordered list of typesetting and music (notation) issues with a rather simplistic attitude but in most cases "good-enough" answers JCN},
- year = {1996},
+ note = {A cheap, concise, alphabetically ordered list of typesetting and music (notation) issues with a rather simplistic attitude but in most cases "good-enough" answers JCN},
+ year = {1996},
title = {Essential Dictionary of Music Notation},
author = {Tom Gerou and Linda Lusk},
publisher = {Alfred Publishing},
- address ={Van Nuys CA},
- isbn ={ISBN 0-88284-768-6},
+ address = {Van Nuys CA},
+ isbn = {ISBN 0-88284-768-6},
}
-
@Book {chlapik87,
note = {An clearly written book for the casually interested
- reader. It shows some of the conventions and difficulties in
- printing music HWN},
-
- year = {1987},
+reader. It shows some of the conventions and difficulties in
+printing music HWN},
+ year = {1987},
title = {Die Praxis des Notengraphikers},
author = {Herbert Chlapik},
publisher = {Doblinger},
- isbn ={ISBN 3-9000 035-96-2},
+ isbn = {ISBN 3-9000 035-96-2},
}
-
-
@Book {barksdale57,
- author = {Barksdale, A},
- year = {1957},
- title = {The Printed Note: 500 Years of Music Printing and Engraving},
- address={Toledo, Ohio},
- month = {January},
- note={`The exhibition "The Printed Note" attempts to show the various processes used since the second of the 15th century for reproducing music mechanically ... '. The illustration mostly feature ancient music},
- publisher={The Toledo Museum of Art},
+ author = {Barksdale, A},
+ year = {1957},
+ title = {The Printed Note: 500 Years of Music Printing and Engraving},
+ address = {Toledo, Ohio},
+ month = {January},
+ note = {`The exhibition "The Printed Note" attempts to show the various processes used since the second of the 15th century for reproducing music mechanically ... '. The illustration mostly feature ancient music},
+ publisher = {The Toledo Museum of Art},
}
-
@Book {wolf19,
- author = {Wolf, Johannes},
- year = {1919},
- title = {Handbuch der Notationskunde},
- address={Leipzig},
- publisher={Breitkopf & Hartel},
- note= {Very thorough treatment (in two volumes) of the history of music notation},
+ author = {Wolf, Johannes},
+ year = {1919},
+ title = {Handbuch der Notationskunde},
+ address = {Leipzig},
+ publisher = {Breitkopf & Hartel},
+ note = {Very thorough treatment (in two volumes) of the history of music notation},
}
@Book {rosenthal67,
- author = {Rosenthal, Carl A},
- year = {1967},
- title = {A Practical Guide to Music Notation},
- address={New York},
- publisher={MCA Music},
- note={Heussenstamm writes: Informative in terms of traditional notation. Does not concern score preparation}
+ author = {Rosenthal, Carl A},
+ year = {1967},
+ title = {A Practical Guide to Music Notation},
+ address = {New York},
+ publisher = {MCA Music},
+ note = {Heussenstamm writes: Informative in terms of traditional notation. Does not concern score preparation}
}
-
@Book {Boehm61,
- author = {Boehm, Laszlo},
- year = {1961},
- title={Modern Music Notation},
- address={New York},
- publisher={G. Schirmer, Inc.},
- note ={Heussenstamm writes: A handy compact reference book in basic notation. }
+ author = {Boehm, Laszlo},
+ year = {1961},
+ title = {Modern Music Notation},
+ address = {New York},
+ publisher = {G. Schirmer, Inc.},
+ note = {Heussenstamm writes: A handy compact reference book in basic notation.}
}
+
@Book{button20:_system_music_notat,
- author = {Button, H. Elliot},
- title = {System in Musical Notation},
- publisher = {Novello and co.},
- year = 1920,
- address = {London}
+ author = {Button, H. Elliot},
+ title = {System in Musical Notation},
+ publisher = {Novello and co.},
+ year = 1920,
+ address = {London}
}
@Book{johnson46:_how,
- author = {Johnson, Harold},
- title = {How to write music manuscript},
- publisher = {Carl Fischer, Inc.},
- year = 1946,
- address = {New York}
+ author = {Johnson, Harold},
+ title = {How to write music manuscript},
+ publisher = {Carl Fischer, Inc.},
+ year = 1946,
+ address = {New York}
}
-
-
@Book{tyboni94:_noter_handb_i_tradit_noter,
- author = {B\"orje Tyboni},
- title = {Noter Handbok I Traditionell Notering},
- publisher = {Gehrmans Musikf\"orlag},
- year = 1994,
- address = {Stockholm},
- note = {Swedish book on music notation.}
+ author = {Börje Tyboni},
+ title = {Noter Handbok I Traditionell Notering},
+ publisher = {Gehrmans Musikförlag},
+ year = 1994,
+ address = {Stockholm},
+ note = {Swedish book on music notation.}
}
@Book{jaschinski00:_notat,
- editor = {Andreas Jaschinski},
- title = {Notation},
- publisher = {Bärenreiter Verlag},
- year = 2000,
- number = {BVK1625},
-
+ editor = {Andreas Jaschinski},
+ title = {Notation},
+ publisher = {Bärenreiter Verlag},
+ year = 2000,
+ number = {BVK1625},
annote = {Articles from "Musik in Geschichte und Gegenwart"
pertaining to notation. Both "alternative" notation and ancient
notation is treated in depth, while "common" notation is not. }
}
-
-
and LilyPond code in the music expression to be returned.
Some @code{\override} commands require an argument consisting of
-a pair of numbers (called a @code{cons cell} in Scheme).
+a pair of numbers (called a @emph{cons cell} in Scheme).
The pair can be directly passed into the music function,
using a @code{pair?} variable:
The arguments are
-@table @var
-@item command-name
+@table @code
+@item @var{command-name}
the markup command name
@item layout
the @q{layout} definition.
@item props
a list of associative lists, containing all active properties.
-@item argi
+@item @var{argi}
@var{i}th command argument
-@item argi-type?
+@item @var{argi-type?}
a type predicate for the i@var{th} argument
@end table
-If the command uses properties from the @var{props} arguments, the
-@code{#:properties} keyword can be used to specify which properties are
-used along with their default values.
+If the command uses properties from the @code{props} arguments,
+the @code{#:properties} keyword can be used to specify which
+properties are used along with their default values.
Arguments are distinguished according to their type:
@itemize
@code{list?}, @code{number?}, @code{boolean?}, etc.
@end itemize
-There is no limitation on the order of arguments (after the standard
-@var{layout} and @var{props} arguments). However, markup functions
-taking a markup as their last argument are somewhat special as you can
-apply them to a markup list, and the result is a markup list where the
-markup function (with the specified leading arguments) has been applied
-to every element of the original markup list.
+There is no limitation on the order of arguments (after the
+standard @code{layout} and @code{props} arguments). However,
+markup functions taking a markup as their last argument are
+somewhat special as you can apply them to a markup list, and the
+result is a markup list where the markup function (with the
+specified leading arguments) has been applied to every element of
+the original markup list.
-Since replicating the leading arguments for applying a markup function
-to a markup list is cheap mostly for Scheme arguments, you avoid
-performance pitfalls by just using Scheme arguments for the leading
-arguments of markup functions that take a markup as their last argument.
+Since replicating the leading arguments for applying a markup
+function to a markup list is cheap mostly for Scheme arguments,
+you avoid performance pitfalls by just using Scheme arguments for
+the leading arguments of markup functions that take a markup as
+their last argument.
@node On properties
@unnumberedsubsubsec On properties
\applyContext @var{function}
@end example
-@var{function} should be a Scheme function that takes a single
-argument: the context in which the @code{\applyContext} command is
-being called. The following code will print the current bar
-number on the standard output during the compile:
+@code{@var{function}} should be a Scheme function that takes a
+single argument: the context in which the @code{\applyContext}
+command is being called. The following code will print the
+current bar number on the standard output during the compile:
@example
\applyContext
@funindex \applyOutput
-The most versatile way of tuning an object is @code{\applyOutput}. Its
-syntax is
+The most versatile way of tuning an object is @code{\applyOutput} which
+works by inserting an event into the specified context
+(@rinternals{ApplyOutputEvent}). Its syntax is
@example
\applyOutput @var{context} @var{proc}
@end example
@noindent
-where @var{proc} is a Scheme function, taking three arguments.
+where @code{@var{proc}} is a Scheme function, taking three arguments.
-When interpreted, the function @var{proc} is called for every layout
-object found in the context @var{context}, with the following
-arguments:
+When interpreted, the function @code{@var{proc}} is called for
+every layout object found in the context @code{@var{context}} at
+the current time step, with the following arguments:
@itemize
@item the layout object itself,
@item the context where the layout object was created, and
In addition, the cause of the layout object, i.e., the music
expression or object that was responsible for creating it, is in the
object property @code{cause}. For example, for a note head, this is a
-@rinternals{NoteHead} event, and for a @rinternals{Stem} object,
-this is a @rinternals{NoteHead} object.
+@rinternals{NoteHead} event, and for a stem object,
+this is a @rinternals{Stem} object.
Here is a function to use for @code{\applyOutput}; it blanks
-note-heads on the center-line:
+note-heads on the center-line and next to it:
@lilypond[quote,verbatim,ragged-right]
#(define (blanker grob grob-origin context)
(if (and (memq 'note-head-interface (ly:grob-interfaces grob))
- (eq? (ly:grob-property grob 'staff-position) 0))
+ (< (abs (ly:grob-property grob 'staff-position)) 2))
(set! (ly:grob-property grob 'transparent) #t)))
\relative c' {
- e4 g8 \applyOutput #'Voice #blanker b d2
+ a'4 e8 <<\applyOutput #'Voice #blanker a c d>> b2
}
@end lilypond
ISOLANG = fr
depth = ../..
-SUBDIRS = web learning notation texidocs usage included essay
+SUBDIRS = web learning notation texidocs usage included essay extending
STEPMAKE_TEMPLATES = documentation
LOCALSTEPMAKE_TEMPLATES = lilypond ly doc-i18n-root
--- /dev/null
+depth = ../../..
+
+LOCALSTEPMAKE_TEMPLATES = ly
+
+include $(depth)/make/stepmake.make
Nous engageons les nouveaux contributeurs utilisant Windows à utiliser
une machine virtuelle pour faire tourner @emph{lilybuntu}. Voir
-@rcontrib{Using a Virtual Machine to Compile LilyPond}.
+@rcontrib{Lilybuntu}.
@itemize
@item
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 26375d5016d8d180fc914bfd07cf76f4168f2e37
+ Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
{vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly}
+@appendixsubsec Partition pour chœur SATB, sur quatre portées
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{satb-choir-template---four-staves.ly}
+
@appendixsubsec Couplet pour solo et refrain à deux voix
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
{hymn-template.ly}
+@appendixsubsec Psalmodie
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{anglican-psalm-template.ly}
+
@node Orchestre
@appendixsec Orchestre
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: cb2cd4b74f545f1d0a25725ffac6ce0c01b45c50
+ Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
MACRO DEFINITIONS GUIDELINES
****************************
-This file should contain macro defintions which are common to all
+This file should contain macro definitions which are common to all
languages, i.e. all macro definitions which do not contain text that
should be translated (namely text visible in the output).
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 0a9a2436b50e6fb852bc7442bb5e8ed3919e829b
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
peut trouver sur les partitions.
@menu
-* Indications attachées à des notes::
-* Courbes::
-* Lignes::
+* Signes d'interprétation attachés à des notes::
+* Signes d'interprétation sous forme de courbe::
+* Signes d'interprétation sous forme de ligne::
@end menu
-@node Indications attachées à des notes
-@subsection Indications attachées à des notes
-@translationof Attached to notes
+@node Signes d'interprétation attachés à des notes
+@subsection Signes d'interprétation attachés à des notes
+@translationof Expressive marks attached to notes
Nous allons voir au cours de ces lignes comment ajouter aux notes des
indications d'interprétation -- articulation, ornementation, nuance --
@rextendnamed{Markup construction in Scheme,Construction Scheme d'un marqueur}.
-@node Courbes
-@subsection Courbes
-@translationof Curves
+@node Signes d'interprétation sous forme de courbe
+@subsection Signes d'interprétation sous forme de courbe
+@translationof Expressive marks as curves
+
+@cindex courbes
Ce chapitre traite des signes d'interprétation imprimés sous forme de
courbe@tie{}: liaisons d'articulation ou de phrasé, respirations, chutes
@rlsrnamed{Expressive marks,Signes d'interprétation}.
-@node Lignes
-@subsection Lignes
-@translationof Lines
+@node Signes d'interprétation sous forme de ligne
+@subsection Signes d'interprétation sous forme de ligne
+@translationof Expressive marks as lines
+
+@cindex lignes
Cette partie traite de la manière de générer des signes d'interprétation
d'aspect linéaire, tels les glissandos, arpèges et trilles.
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode {c:9}
+\storePredefinedDiagram #default-fret-table \chordmode {c:9}
#guitar-tuning
#"x;3-2;2-1;3-3;3-4;x;"
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode {c'}
+\storePredefinedDiagram #default-fret-table \chordmode {c'}
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes guitar-tuning))
% add some new chords based on the power chord shape
-\storePredefinedDiagram \chordmode {f'}
+\storePredefinedDiagram #default-fret-table \chordmode {f'}
#guitar-tuning
#(chord-shape 'powerf guitar-tuning)
-\storePredefinedDiagram \chordmode {g'}
+\storePredefinedDiagram #default-fret-table \chordmode {g'}
#guitar-tuning
#(offset-fret 2 (chord-shape 'powerf guitar-tuning))
@lilypond[quote,ragged-right,verbatim]
-\storePredefinedDiagram <c e g c' e'>
+\storePredefinedDiagram #default-fret-table <c e g c' e'>
#guitar-tuning
#"x;3-1-(;5-2;5-3;5-4;3-1-1);"
<<
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 60c59602bb30b60154a2310ebf0c88036eca71b2
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
\clef bass
% stems may overlap the other staff
\override Stem #'cross-staff = ##t
- % extend the stems to reach other other staff
+ % extend the stems to reach the other staff
\override Stem #'length = #12
% do not print extra flags
\override Stem #'flag-style = #'no-flag
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 217cd2b9de6e783f2a5c8a42be9c70a82195ad20
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@translationof MIDI instruments
La liste suivante répertorie les différentes dénominations que vous
-pouvez affecter à la propriété @code{midiInstrument}.
+pouvez affecter à la propriété @code{midiInstrument}. L'ordre dans
+lequel ils sont rangés, par colonne, correspond aux 128 programmes du
+standard @emph{General MIDI}.
@example
acoustic grand contrabass lead 7 (fifths)
Voici, regroupés par type, les différents symboles de la fonte
Emmentaler qui peuvent s'inclure directement dans un objet
@emph{markup}. Pour ce faire, il suffit d'employer le nom du glyphe,
-comme dans @code{g^\markup @{\musicglyph #"scripts.segno" @}} ou
-@code{\markup @{\musicglyph #"five"@}}. Pour de plus amples
+comme dans @w{@code{g^\markup @{\musicglyph #"scripts.segno" @}}} ou
+@w{@code{\markup @{\musicglyph #"five"@}}}. Pour de plus amples
informations, reportez-vous au chapitre @ref{Mise en forme du texte}.
@cindex segno
@cindex coda
@cindex varcoda
+@cindex pointe
+@cindex talon
-
-Voici la liste exhaustive des symboles prédéfinis :
+Voici la liste exhaustive des symboles prédéfinis et que vous pouvez
+attacher à une note (p.ex. @code{c\accent})@tie{}:
@c Articulations and ornamentations
@c Fingering instructions (for "thumb")
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 31097723b2b816696ad61696630a80ff17a39557
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@cindex notes profilées
@cindex Aiken, tête de note
@cindex harpe sacrée, tête de note
+@cindex Funk, tête de note
+@cindex tête de note, Funk
+@cindex tête de note, Harmonica Sacra
+@cindex Harmonica Sacra, tête de note
+@cindex Christian Harmony, tête de note
+@cindex tête de note, Christian Harmony
+@cindex Walker shape, tête de note
+@cindex tête de note, Walker
@funindex \key
@funindex key
@funindex southernHarmonyHeads
@funindex \southernHarmonyHeadsMinor
@funindex southernHarmonyHeadsMinor
+@funindex \funkHeads
+@funindex funkHeads
+@funindex \walkerHeads
+@funindex walkerHeads
+@funindex \funkHeadsMinor
+@funindex funkHeadsMinor
+@funindex \walkerHeadsMinor
+@funindex walkerHeadsMinor
En notation profilée, le profil d'une tête de note correspond à la
fonction harmonique de cette note dans la gamme. Ce style de notation
c,4 d e f g2 a b1 c \break
\southernHarmonyHeads
c,4 d e f g2 a b1 c \break
+\funkHeads
+c,4 d e f g2 a b1 c \break
+\walkerHeads
+c,4 d e f g2 a b1 c \break
@end lilypond
Les profils sont déterminés par la hauteur dans la gamme, le premier
a,2 b c d \break
\southernHarmonyHeadsMinor
a2 b c d \break
+\funkHeadsMinor
+a2 b c d \break
+\walkerHeadsMinor
+a2 b c d \break
@end lilypond
@predefined
@code{\aikenHeads},
@code{\aikenHeadsMinor},
+@code{\funkHeads},
+@code{\funkHeadsMinor},
@code{\sacredHarpHeads}.
@code{\sacredHarpHeadsMinor},
@code{\southernHarmonyHeads},
-@code{\southernHarmonyHeadsMinor}.
+@code{\southernHarmonyHeadsMinor},
+@code{\walkerHeads},
+@code{\walkerHeadsMinor}.
@endpredefined
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: e1a149d0cc60b02e86209387958f4028567dd366
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@menu
* Métrique::
+* Indication métronomique::
* Levées::
* Musique sans métrique::
* Notation polymétrique::
@rinternals{Timing_translator}.
+@node Indication métronomique
+@unnumberedsubsubsec Indication métronomique
+@translationof Metronome marks
+
+@cindex tempo
+@cindex battements par minute
+@cindex métronome, indication
+
+@funindex \tempo
+@funindex tempo
+
+Une indication métronomique s'insère tout simplement comme ceci@tie{}:
+
+@lilypond[verbatim,quote,relative=1]
+\tempo 4 = 120
+c2 d
+e4. d8 c2
+@end lilypond
+
+Vous pouvez préférer une indication textuelle@tie{}:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegretto"
+c4 e d c
+b4. a16 b c4 r4
+@end lilypond
+
+Lorsque vous combinez des indications métronomiques sous forme textuelle
+et numérique, l'indication numérique sera placée entre parenthèses@tie{}:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegro" 4 = 160
+g4 c d e
+d4 b g2
+@end lilypond
+
+En matière d'indication textuelle, vous pouvez utiliser n'importe quel
+objet de type @emph{markup}, comme ici@tie{}:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo \markup { \italic Faster } 4 = 132
+a8-. r8 b-. r gis-. r a-. r
+@end lilypond
+
+Mentionner une indication textuelle vide vous permet de mettre entre
+parenthèses l'indication numérique@tie{}:
+
+@lilypond[verbatim,quote,relative=2]
+\tempo "" 8 = 96
+d4 g e c
+@end lilypond
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
+
+@c perhaps also an example of how to move it horizontally?
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-tempo-without-a-metronome-mark.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{creating-metronome-marks-in-markup-mode.ly}
+
+Pour de plus amples détails, veuillez consulter
+@ref{Mise en forme du texte}.
+
+
+@seealso
+Glossaire musicologique :
+@rglosnamed{metronome,métronome},
+@rglosnamed{metronomic indication,indication métronomique},
+@rglosnamed{tempo indication,indication du tempo},
+@rglosnamed{metronome mark,marque de métronome}.
+
+Manuel de notation :
+@ref{Mise en forme du texte},
+@ref{Sortie MIDI}.
+
+Morceaux choisis :
+@rlsrnamed{Staff notation,Notation sur la portée}.
+
+Référence des propriétés internes :
+@rinternals{MetronomeMark}.
+
+
@node Levées
@unnumberedsubsubsec Levées
@translationof Upbeats
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 22fc4443690d33d4335a310723cb37dc5b76fb12
+ Translation of GIT committish: 908605aaf5df4d07684dafd862322e6ffac3ae10
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
* Initialisation de nouvelles portées::
* Regroupement de portées::
* Imbrication de regroupements de portées::
+* Séparation des systèmes::
@end menu
@rinternals{SystemStartSquare}.
+@node Séparation des systèmes
+@unnumberedsubsubsec Séparation des systèmes
+@translationof Separating systems
+
+@cindex système, indicateur de séparation
+
+Le nombre de systèmes peut varier d'une page à l'autre@tie{}; vous
+povez, en pareil cas, rendre plus évidente la séparation entre les
+systèmes en l'indiquant visuellement. Ce @qq{séparateur} est absent par
+défaut, mais vous pouvez l'activer par une option au sein du bloc
+@code{\paper}.
+
+@c \book is required here to display the system separator
+@c ragged-right is required as there are two systems
+@lilypond[verbatim,quote,ragged-right]
+\book {
+ \score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ >>
+ }
+ \paper {
+ system-separator-markup = \slashSeparator
+ % following commands are needed only to format this documentation
+ paper-width = 100\mm
+ paper-height = 100\mm
+ tagline = ##f
+ }
+}
+@end lilypond
+
+@seealso
+Manuel de notation :
+@ref{Mise en forme de la page}.
+
+Morceaux choisis :
+@rlsrnamed{Staff notation,Notation sur la portée}.
+
+
@node Modification de portées individuelles
@subsection Modification de portées individuelles
@translationof Modifying single staves
partition, hormis celles du premier système.
@warning{Une portée est considérée comme vide dès lors qu'elle ne
-contient que des silences multimesures, des silences invisibles ou
-d'espacement (les @emph{\skip}) ou bien une combinaison de ces
-éléments.}
+contient que des silences multimesures, des silences visibles ou
+invisibles (ou d'espacement -- les @emph{\skip}) ou bien une combinaison
+de ces éléments.}
@lilypond[verbatim,quote,ragged-right]
\layout {
forme.
@menu
-* Indications métronomiques::
* Noms d'instrument::
* Citation d'autres voix::
* Mise en forme d'une citation::
@end menu
-@node Indications métronomiques
-@unnumberedsubsubsec Indications métronomiques
-@translationof Metronome marks
-
-@cindex Tempo
-@cindex battements par minute
-@cindex indication métronomique
-
-@funindex \tempo
-@funindex tempo
-
-Le métronome se règle de la manière suivante@tie{}:
-
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
-@end lilypond
-
-On peut cependant lui préférer du texte@tie{}:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
-@end lilypond
-
-Lorsque l'on indique à la fois le tempo et le métronome, ce dernier sera
-indiqué entre parenthèses@tie{}:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
-@end lilypond
-
-En règle générale, le texte peut être constitué de n'importe quel objet
-de type @code{markup}@tie{}:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
-@end lilypond
-
-Une simple indication métronomique entre parenthèses s'obtient en
-fournissant une chaîne vide à l'instruction@tie{}:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
-
-@c perhaps also an example of how to move it horizontally?
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-tempo-without-a-metronome-mark.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{creating-metronome-marks-in-markup-mode.ly}
-
-Pour plus de détails, voir @ref{Mise en forme du texte}.
-
-
-@seealso
-Glossaire musicologique :
-@rglosnamed{metronome,métronome},
-@rglosnamed{metronomic indication,indication métronomique},
-@rglos{tempo indication},
-@rglos{metronome mark}.
-
-Manuel de notation :
-@ref{Mise en forme du texte},
-@ref{Sortie MIDI}.
-
-Morceaux choisis :
-@rlsrnamed{Staff notation,Notation sur la portée}.
-
-Référence des propriétés internes :
-@rinternals{MetronomeMark}.
-
-
@node Noms d'instrument
@unnumberedsubsubsec Noms d'instrument
@translationof Instrument names
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@ignore
- Translation of GIT committish: 58a29969da425eaf424946f4119e601545fb7a7e
+ Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@c \version "2.12.0"
-@c Translators: Valentin Villenave
+@c Translators: Valentin Villenave, Jean-Charles Malahieuse
@c Translation checkers: Jean-Charles Malahieude, John Mandereau
@node Instruments à vent
@menu
* Vue d'ensemble des instruments à vent::
* Cornemuse::
+* Bois::
@end menu
@node Vue d'ensemble des instruments à vent
@ref{Têtes de note spécifiques},
Morceaux choisis :
-@rlsr{Winds}
+@rlsrnamed{Winds,Vents}.
@node Doigtés pour vents
@unnumberedsubsubsec Doigtés pour vents
@translationof Fingerings
-@c TODO add link to LSR snippet by Libero Mureddo once he has added
-@c it (after August 15th).
Tout instrument à vent, hormis le trombone à coulisse, fait appel à
-plusieurs doigts pour produire un son.
+plusieurs doigts pour produire un son. Les exemples ci-dessous vous
+donnent un apperçu de différentes manières d'indiquer des doigtés.
-TBC
+La gestion des diagrammes de doigté spécifiques aux bois est abordée
+plus en profondeur au chapitre @ref{Diagrammes pour bois}.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{fingering-symbols-for-wind-instruments.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{recorder-fingering-chart.ly}
+
+@seealso
+
+Manuel de notation :
+@ref{Diagrammes pour bois}.
+
+Snippets:
+@rlsrnamed{Winds,Vents}.
+
@node Cornemuse
@subsection Cornemuse
@seealso
-@rlsr{Winds}
+@rlsrnamed{Winds,Vents}.
@node Exemple pour la cornemuse
@seealso
-@rlsr{Winds}
+@rlsrnamed{Winds,Vents}
+
+
+@node Bois
+@subsection Bois
+@translationof Woodwinds
+
+Nous allons ici nous intéresser aux spécificités de la section des bois.
+
+@menu
+* Diagrammes pour bois::
+@end menu
+
+@node Diagrammes pour bois
+@subsubsection Diagrammes pour bois
+@translationof Woodwind diagrams
+
+Les doigtés pour obtenir une note particulière peuvent s'afficher sous
+forme graphique. LilyPond dispose de diagrammes pour la plupart des
+bois, et tout particulièrement les instruments suivants@tie{}:
+
+@itemize
+@item piccolo
+@item flûte
+@item hautbois
+@item clarinette
+@item clarinette basse
+@item saxophone
+@item basson
+@item contrebasson
+@end itemize
+
+@noindent
+L'exemple qui suit répertorie les différents diagrammes disponibles, le
+nom de chaque instrument étant indiqué en langage Scheme.
+
+Les diagrammes sont générés en tant qu'objet de type
+@emph{markup}@tie{}:
+
+@lilypond[verbatim, quote, relative=2]
+c1^ \markup \woodwind-diagram #'piccolo #'((lh . (gis))
+ (cc . (one three))
+ (rh . (ees)))
+@end lilypond
+
+Les clés ou trous peuvent être partiellement enfoncés ou bouchés@tie{}:
+
+@c KEEP LY
+@lilypond [verbatim, quote, relative=2]
+\textLengthOn
+c1^ \markup \center-column {
+ "quart de trou"
+ \woodwind-diagram #'flute #'((cc . (one1q))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "demi-trou"
+ \woodwind-diagram #'flute #'((cc . (one1h))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "trois quarts de trou"
+ \woodwind-diagram #'flute #'((cc . (one3q))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "anneau"
+ \woodwind-diagram #'flute #'((cc . (oneR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "bouché"
+ \woodwind-diagram #'flute #'((cc . (oneF two))
+ (lh . ())
+ (rh . ()))
+}
+@end lilypond
+
+L'indication du doigté permettant de triller s'obtient en grisant une
+position@tie{}:
+
+@lilypond [verbatim, quote, relative=2]
+c1^ \markup \woodwind-diagram #'bass-clarinet
+ #'((cc . (threeT four))
+ (lh . ())
+ (rh . (b fis)))
+@end lilypond
+
+Certaines combinaisons particulières en matière de trille sont
+possibles@tie{}:
+
+@c KEEP LY
+@lilypond [verbatim, quote, relative=2]
+\textLengthOn
+c1^ \markup \center-column {
+ "quart de trou et anneau"
+ \woodwind-diagram #'flute #'((cc . (one1qTR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "anneau et fermé"
+ \woodwind-diagram #'flute #'((cc . (oneTR))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "anneau et ouvert"
+ \woodwind-diagram #'flute #'((cc . (oneRT))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "ouvert et fermé"
+ \woodwind-diagram #'flute #'((cc . (oneT))
+ (lh . ())
+ (rh . ()))
+}
+c1^ \markup \center-column {
+ "quart de trou et trois quarts"
+ \woodwind-diagram #'flute #'((cc . (one1qT3q))
+ (lh . ())
+ (rh . ()))
+}
+@end lilypond
+
+Bien que cela ne produise pas de notation, vous pouvez obtenir à l'écran
+ou dans un fichier de journalisation la liste de toutes les possibilités
+pour un instrument donné, en utilisant dans un fichier
+
+@lilypond[verbatim, quote]
+#(print-keys-verbose 'flute)
+
+@end lilypond
+
+De nouveaux diagrammes sont réalisables, en suivant les directives
+contenues dans les fichiers @file{scm/define-woodwind-diagrams.scm} et
+@file{scm/display-woodwind-diagrams.scm}. Ceci requiert toutefois la
+maîtrise du langage Scheme.
+
+
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{woodwind-diagrams-listing.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{graphical-and-text-woodwind-diagrams.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{changing-the-size-of-woodwind-diagrams.ly}
+
+@lilypondfile[verbatim, lilyquote, texidoc, doctitle]
+{woodwind-diagrams-key-lists.ly}
+
+@seealso
+
+Fichiers d'initialisation :
+@file{scm/define-woodwind-diagrams.scm},
+@file{scm/display-woodwind-diagrams.scm}.
+
+Morceaux choisis :
+@rlsrnamed{Winds,Vents}.
+
+Référence des propriétés internes :
+@rinternals{TextScript},
+@rinternals{instrument-specific-markup-interface}.
+
--- /dev/null
+%% Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
+
+ texidocfr = "
+Cet exemple illustre la manière de présenter un cantique tel qu'on le
+trouve dans l'église anglicane. Vous noterez comment sont ajoutés les
+couplets indépendamment de la musique. Dans le but de vous montrer
+plusieurs styles, comparez le code des deux couplets.
+
+"
+ doctitlefr = "Psalmodie anglicane"
+
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+La taille et l'épaisseur des diagrammes de doigté pour bois est modifiable
+à souhait.
+
+"
+
+ doctitlefr = "Modification de la taille d'un diagramme pour bois"
+
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Des sumboles spécifiques peuvent être obtenus en combinant les glyphes
+disponibles, ce qui est tout à fait indiqué en matière d'instrument à vent.
+
+"
+ doctitlefr = "Symboles de doigtés pour instruments à vent"
+
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Dans certains cas, vous pouvez opter pour l'affichage textuel d'une clé
+située à côté d'un trou plutôt que sa représentation graphique.
+"
+
+ doctitlefr = "Ajout de texte à un diagramme de doigté"
+
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Cet exemple illustre la manière de créer et afficher des indications de
+doigté pour instrument à vent.
+
+"
+ doctitlefr = "Doigtés pour flûte à bec"
+
--- /dev/null
+%% Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
+
+ texidocfr = "
+Modèle pour chœur à quatre voix mixtes, chaque pupitre ayant sa propre
+portée.
+
+"
+ doctitlefr = "Modèle pour chœur SATB, sur quatre portées"
+
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Le code suivant vous permettra d'obtenir une liste de toutes les
+possibilités en matière de doigtés pour bois, tels qu'ils sont définis
+dans le fichier @code{scm/define-woodwind-diagrams.scm}. Cette liste
+sera produite en console et dans le fichier de journalisation, mais pas
+sous forme de musique.
+"
+ doctitlefr = "Liste des différents diagrammes de doigtés pour bois"
--- /dev/null
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Voici la liste des différents instruments à vent de la section des bois
+dont les doigtés sont disponibles à ce jour.
+"
+ doctitlefr = "Liste des diagrammes de doigtés pour bois"
+
@end html
@end ifhtml
-@emph{Dernière mise à jour Mon May 31 11:22:22 UTC 2010
+@emph{Dernière mise à jour Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@ifhtml
@html
-<span style="background-color: #33ff21">partiellement</span>
+<span style="background-color: #25fe1f">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">oui</span>
+<span style="background-color: #d587ff">N/A</span>
@end html
@end ifhtml
@ifnothtml
-oui
+N/A
@end ifnothtml
@tab post-GDP
@item
@item
1 Tutoriel
@*
-2504
+2535
@tab Nicolas Grandclaude
@*
Ludovic Sardain
@item
2 Bases de notation musicale
@*
-4191
+4182
@tab Nicolas Grandclaude
@*
Ludovic Sardain
@ifhtml
@html
-<span style="background-color: #5bff27">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab post-GDP
@item
3 Concepts fondamentaux
@*
-10838
+11173
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@item
4 Retouche de partition
@*
-15621
+15650
@tab Valentin Villenave
@*
Nicolas Klutchnikoff
@item
A Modèles
@*
-209
+225
@tab Jean-Charles Malahieude
@tab
@tab
@ifhtml
@html
-<span style="background-color: #acff31">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@end multitable
@ifhtml
@html
-<span style="background-color: #e8fe39">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
1.1 Hauteurs
@*
-3518
+3534
@tab Frédéric Chiasson
@tab Valentin Villenave
@*
@item
1.2 Rythme
@*
-4992
+5117
@tab Frédéric Chiasson
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #54ff26">partiellement</span>
+<span style="background-color: #2cff20">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
1.3 Signes d'interprétation
@*
-1481
+1689
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #40fe23">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
1.4 Répétitions et reprises
@*
-774
+893
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #76fe2a">partiellement</span>
+<span style="background-color: #33ff21">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
1.5 Notes simultanées
@*
-1639
+1948
@tab Frédéric Chiasson
@*
Valentin Villenave
@ifhtml
@html
-<span style="background-color: #47ff24">partiellement</span>
+<span style="background-color: #40fe23">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
1.6 Notation sur la portée
@*
-1855
+2010
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #39ff22">partiellement</span>
+<span style="background-color: #25fe1f">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@end ifnothtml
@tab pré-GDP
@item
-1.7 Notation éditoriale
+1.7 Annotations éditoriales
@*
935
@tab Jean-Charles Malahieude
@item
1.8 Texte
@*
-2755
+2707
@tab Jean-Charles Malahieude
@tab Valentin Villenave
@*
@ifhtml
@html
-<span style="background-color: #25fe1f">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
@item
2.1 Musique vocale
@*
-2805
+4991
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #2cff20">partiellement</span>
+<span style="background-color: #ffd743">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
2.3 Cordes non frettées
@*
-255
+281
@tab Valentin Villenave
@*
Matthieu Jacquot
@ifhtml
@html
-<span style="background-color: #25fe1f">partiellement</span>
+<span style="background-color: #47ff24">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
2.4 Instruments à cordes frettées
@*
-2233
+2242
@tab Matthieu Jacquot
@tab Jean-Charles Malahieude
@tab
@ifhtml
@html
-<span style="background-color: #47ff24">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
@item
2.6 Instruments à vent
@*
-136
+348
@tab Valentin Villenave
+@*
+Jean-Charles Malahieuse
@tab Jean-Charles Malahieude
@*
John Mandereau
@ifhtml
@html
-<span style="background-color: #39ff22">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
2.7 Notation des accords
@*
-1521
+1854
@tab Valentin Villenave
@tab Jean-Charles Malahieude
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partiellement (58 %)</span>
+<span style="background-color: #dfef77">partiellement (48 %)</span>
@end html
@end ifhtml
@ifnothtml
-partiellement (58 %)
+partiellement (48 %)
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #ff6f57">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
2.8 Notations anciennes
@*
4479
-@tab John Mandereau
-@*
-Jean-Charles Malahieude
+@tab Jean-Charles Malahieude
@tab
@tab
@ifhtml
@ifhtml
@html
-<span style="background-color: #ff6d58">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
2.9 Musiques du monde
@*
-1429
+1428
@tab Jean-Jacques Gerbaud
@*
Valentin Villenave
@item
3 Généralités en matière d'entrée et sortie
@*
-6416
+6856
@tab Jean-Charles Malahieude
@*
Valentin Villenave
@ifhtml
@html
-<span style="background-color: #dfef77">partiellement (14 %)</span>
+<span style="background-color: #dfef77">partiellement (3 %)</span>
@end html
@end ifhtml
@ifnothtml
-partiellement (14 %)
+partiellement (3 %)
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #ff6959">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
4 Gestion de l'espace
@*
-9258
+9277
@tab Frédéric Chiasson
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #ff645a">partiellement</span>
+<span style="background-color: #47ff24">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
5 Modification des réglages prédéfinis
@*
-11815
+11836
@tab Valentin Villenave
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #dfef77">partiellement (4 %)</span>
+<span style="background-color: #dfef77">partiellement (85 %)</span>
@end html
@end ifhtml
@ifnothtml
-partiellement (4 %)
+partiellement (85 %)
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #9eff30">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
@item
1 Exécution de @command{lilypond}
@*
-3373
+3629
@tab Jean-Charles Malahieude
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">partiellement (23 %)</span>
+<span style="background-color: #dfef77">partiellement (97 %)</span>
@end html
@end ifhtml
@ifnothtml
-partiellement (23 %)
+partiellement (97 %)
@end ifnothtml
@tab
@ifhtml
@end ifnothtml
@tab pré-GDP
@item
-3 @command{lilypond-book} : association musique-texte
-@*
-3439
-@tab John Mandereau
+3 Association musique-texte avec @command{lilypond-book}
@*
-Jean-Charles Malahieude
+3747
+@tab Jean-Charles Malahieude
@tab
@tab
@ifhtml
@html
-<span style="background-color: #d0f0f8">non</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-non
+oui
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #83fe2c">partiellement</span>
+<span style="background-color: #39ff22">partiellement</span>
@end html
@end ifhtml
@ifnothtml
@item
4 Programmes externes
@*
-2229
+2176
@tab Jean-Charles Malahieude
@tab
@tab
@item
Titre des chapitres
@*
-510
+579
@tab John Mandereau
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">oui</span>
+<span style="background-color: #33ff21">partiellement</span>
@end html
@end ifhtml
@ifnothtml
-oui
+partiellement
@end ifnothtml
@tab pré-GDP
@item
@item
Introduction
@*
-4289
+4498
@tab Gauvain Pocentek
@*
Jean-Charles Malahieude
@ifhtml
@html
-<span style="background-color: #68ff28">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@item
Téléchargement
@*
-1173
+1169
@tab Jean-Charles Malahieude
@*
John Mandereau
@item
Manuels
@*
-1198
+1200
@tab John Mandereau
@tab Jean-Charles Malahieude
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">partiellement (97 %)</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement (97 %)
+oui
@end ifnothtml
@tab
@ifhtml
@item
Communauté
@*
-1670
+1679
@tab Jean-Charles Malahieude
@*
John Mandereau
@ifhtml
@html
-<span style="background-color: #5bff27">partiellement</span>
+<span style="background-color: #1fff1f">oui</span>
@end html
@end ifhtml
@ifnothtml
-partiellement
+oui
@end ifnothtml
@tab pré-GDP
@end multitable
@c -*- coding: utf-8; mode: texinfo; documentlanguage : fr -*-
@ignore
- Translation of GIT committish: 0ab366a101ef8c3439dd8d6ff6c634f70fa5f63b
+ Translation of GIT committish: 87a9977bbd54e3822338e290716845d8e2e304e3
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@warning{Il s'agit des versions @emph{instables et de développement}.
Si vous avez le moindre doute quant à l'utilisation ou l'installation de
-LilyPond, nous vous enjoignons à utiliser le @ref{Téléchargement} et la
-lecture des @ref{Manuels} pour la version stable.}
+LilyPond, nous vous enjoignons à utiliser le
+@ref{Téléchargement,téléchargement de la version stable} et la
+lecture des @ref{Manuels,manuels pour la version stable}.}
@divEnd
@c -*- coding: utf-8; mode: texinfo; documentlanguage: fr -*-
@c This file is part of web.texi
@ignore
- Translation of GIT committish: 0ab366a101ef8c3439dd8d6ff6c634f70fa5f63b
+ Translation of GIT committish: 87a9977bbd54e3822338e290716845d8e2e304e3
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@divClass{keep-bullets}
@itemize
+@item
+Mai 2010
+
+Peter Kirn publie, sur le site Create Digital Music, une
+@uref{http://createdigitalmusic.com/2010/05/14/lilypond-free-beautiful-music-notation-engraving-for-anyone/,critique de LilyPond}.
+Son approche reste objective et il invite à essayer LilyPond pour la
+qualité de son rendu.
+
@item
Septembre 2009
amis sur son potentiel.}
@divEnd
+@divClass{testimonial-item}
+@subsubheading @uref{http://webusers.siba.fi/~mkuuskan/, Dr Mika Kuuskankare}, chercheur à la @uref{http://siba.fi, Sibelius Academy Finland}, compositeur et auteur de Expressive Notation Package (ENP)
+
+@qq{J'ai le plus grand respect pour LilyPond, ses concepteurs et tous
+ceux qui en assurent la maintenance, d'autant plus que je sais, de par
+ma propre expérience, comment cela peut être difficile pour ce type de
+logiciel.}
+@divEnd
+
+
+@divClass{testimonial-item}
+@subsubheading @uref{http://camerondh.blogspot.com, David Cameron}, musicien, graveur professionnel et utilisateur de SCORE pendant longtemps
+
+@qq{J'adresse mes remerciements les plus chaleureux à tous ceux qui
+contribuent à ce projet. Bien qu'utilisateur chevronné de SCORE pour
+différents éditeurs dans les années 1990, je considère à présent que
+LilyPond me permet d'obtenir exactement ce que je veux sur une page, et
+tout spécialement quand cela sort des standards.}
+@divEnd
+
@divEnd
@divClass{column-center-bottom}
@divClass{column-center-top}
-@subheading Autres programmes qui exportent du code LilyPond
+@subheading Programmes qui exportent du code LilyPond
@subsubheading Éditeurs de partition, tablature et MIDI
@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor}, un
convertisseur monophonique temps-réel MIDI vers LilyPond.
+@item
+@uref{http://www.holmessoft.co.uk/homepage/software/NWC2LY/index.htm,NW2LY},
+programme en C#, permet de convertir une chanson écrite avec
+@uref{http://www.noteworthysoftware.com/, NoteWorthy} au format LilyPond.
+
+
@end itemize
@subsubheading Générateurs de code
@itemize
@item
-@uref{http://strasheela.sourceforge.net, Strasheela} est un système de
-composition musicale @qq{highly expressive constraint-based}.
+@uref{http://www.projectabjad.org/,Abjad}, API de contrôle
+formaliste de partition pour @uref{http://www.python.org/,Python},
+permet aux compositeurs de gérer du code LilyPond complexe.
+
+@item
+@uref{http://strasheela.sourceforge.net,Strasheela} est un système de
+composition musicale basé sur le projet
+@uref{http://www.mozart-oz.org/,Mozart/Oz}.
@item
@uref{http://common-lisp.net/project/fomus/,FOMUS}, bibliothèque LISP
@end html
@end ifhtml
-@emph{Last updated Mon May 31 11:22:22 UTC 2010
+@emph{Last updated Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@ifhtml
@html
-<span style="background-color: #68ff28">partially</span>
+<span style="background-color: #83fe2c">partially</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #2cff20">partially</span>
+<span style="background-color: #33ff21">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
1 Első lecke
@*
-2504
+2535
@tab Harmath Dénes
@tab
@tab
@item
2 Elemi kottaírás
@*
-4191
+4182
@tab Harmath Dénes
@tab
@tab
@ifhtml
@html
-<span style="background-color: #6fff29">partially</span>
+<span style="background-color: #7dff2b">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
3 Alapfogalmak
@*
-10838
+11173
@tab Harmath Dénes
@tab
@tab
@ifhtml
@html
-<span style="background-color: #d0f0f8">no</span>
+<span style="background-color: #1fff1f">yes</span>
@end html
@end ifhtml
@ifnothtml
-no
+yes
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #6fff29">partially</span>
+<span style="background-color: #76fe2a">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
4 A kimenet finomhangolása
@*
-15621
+15650
@tab Harmath Dénes
@tab
@tab
@ifhtml
@html
-<span style="background-color: #47ff24">partially</span>
+<span style="background-color: #62ff28">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
A Sablonok
@*
-209
+225
@tab Harmath Dénes
@tab
@tab
@ifhtml
@html
-<span style="background-color: #33ff21">partially</span>
+<span style="background-color: #47ff24">partially</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #2cff20">partially</span>
+<span style="background-color: #33ff21">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
1 A @command{lilypond} használata
@*
-3373
+3629
@tab Team-hu
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">partially (98 %)</span>
+<span style="background-color: #dfef77">partially (96 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially (98 %)
+partially (96 %)
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #68ff28">partially</span>
+<span style="background-color: #8aff2d">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
Section titles
@*
-510
+579
@tab Dénes Harmath
@tab
@tab
@ifhtml
@html
-<span style="background-color: #f6fe3b">partially</span>
+<span style="background-color: #ffe541">partially</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #2cff20">partially</span>
+<span style="background-color: #33ff21">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
Bevezetés
@*
-4289
+4498
@tab Dénes Harmath
@tab
@tab
@ifhtml
@html
-<span style="background-color: #fffa3d">partially</span>
+<span style="background-color: #4efe25">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
Letöltés
@*
-1173
+1169
@tab Dénes Harmath
@tab
@tab
@ifhtml
@html
-<span style="background-color: #97ff2f">partially</span>
+<span style="background-color: #b9ff33">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
Dokumentáció
@*
-1198
+1200
@tab Dénes Harmath
@tab
@tab
@ifhtml
@html
-<span style="background-color: #ffd743">partially</span>
+<span style="background-color: #ffd244">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
Közösség
@*
-1670
+1679
@tab Dénes Harmath
@tab
@tab
@ifhtml
@html
-<span style="background-color: #fff73e">partially</span>
+<span style="background-color: #ffdf42">partially</span>
@end html
@end ifhtml
@ifnothtml
@rcontrib{Compiling LilyPond} c. fejezeteket.}
Windowst használó felhasználóknak javasoljuk a @emph{lilybuntu} virtuális gép
-használatát. Ld. a @rcontrib{Using a Virtual Machine to Compile LilyPond}
+használatát. Ld. a @rcontrib{Lilybuntu}
c. fejezetet.
@itemize
@end html
@end ifhtml
-@emph{Last updated Mon May 31 11:22:22 UTC 2010
+@emph{Last updated Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@item
1 Tutorial
@*
-2504
+2535
@tab Federico Bruni
@tab Luca Rossetto Casel
@tab
@item
2 Notazione comunemente utilizzata
@*
-4191
+4182
@tab Federico Bruni
@tab Luca Rossetto Casel
@tab
@item
3 Concetti fondamentali
@*
-10838
+11173
@tab Federico Bruni
@tab Luca Rossetto Casel
@tab
@ifhtml
@html
-<span style="background-color: #a5ff31">partially</span>
+<span style="background-color: #acff31">partially</span>
@end html
@end ifhtml
@ifnothtml
@tab pre-GDP
@end multitable
+
+@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
+
+@headitem
+LilyPond -- Notazione musicale per tutti
+@tab Translators
+@tab Translation checkers
+@tab Translated
+@tab Up to date
+@tab Other info
+@item
+Section titles
+@*
+579
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #d587ff">N/A</span>
+@end html
+@end ifhtml
+@ifnothtml
+N/A
+@end ifnothtml
+@tab pre-GDP
+@item
+LilyPond --- \TITLE\
+@*
+1107
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #ff6b58">partially</span>
+@end html
+@end ifhtml
+@ifnothtml
+partially
+@end ifnothtml
+@tab pre-GDP
+@item
+Introduzione
+@*
+4498
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #d587ff">N/A</span>
+@end html
+@end ifhtml
+@ifnothtml
+N/A
+@end ifnothtml
+@tab pre-GDP
+@item
+Download
+@*
+1169
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #d587ff">N/A</span>
+@end html
+@end ifhtml
+@ifnothtml
+N/A
+@end ifnothtml
+@tab pre-GDP
+@item
+Manuali
+@*
+1200
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #d587ff">N/A</span>
+@end html
+@end ifhtml
+@ifnothtml
+N/A
+@end ifnothtml
+@tab pre-GDP
+@item
+Comunità
+@*
+1679
+@tab Federico Bruni
+@tab
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">yes</span>
+@end html
+@end ifhtml
+@ifnothtml
+yes
+@end ifnothtml
+@tab
+@ifhtml
+
+@html
+<span style="background-color: #d587ff">N/A</span>
+@end html
+@end ifhtml
+@ifnothtml
+N/A
+@end ifnothtml
+@tab pre-GDP
+@end multitable
+
@end html
@end ifhtml
-@emph{最終更新日 Mon May 31 11:22:22 UTC 2010
+@emph{最終更新日 Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@item
1 チュートリアル
@*
-2504
+2535
@tab Yoshiki Sawada
@tab
@tab
@item
2 一般的な記譜法
@*
-4191
+4182
@tab Yoshiki Sawada
@tab
@tab
@item
3 基礎となるコンセプト
@*
-10838
+11173
@tab Yoshiki Sawada
@tab
@tab
@ifhtml
@html
-<span style="background-color: #a5ff31">partially</span>
+<span style="background-color: #b2fe32">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
4 出力を調整する
@*
-15621
+15650
@tab Yoshiki Sawada
@tab
@tab
@ifhtml
@html
-<span style="background-color: #68ff28">partially</span>
+<span style="background-color: #7dff2b">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
A テンプレート
@*
-209
+225
@tab Yoshiki Sawada
@tab
@tab
@ifhtml
@html
-<span style="background-color: #b9ff33">partially</span>
+<span style="background-color: #c7ff35">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
1 lilypond を実行する
@*
-3373
+3629
@tab Yoshiki Sawada
@tab
@tab
@ifhtml
@html
-<span style="background-color: #dfef77">一部 (66 %)</span>
+<span style="background-color: #dfef77">一部 (65 %)</span>
@end html
@end ifhtml
@ifnothtml
-一部 (66 %)
+一部 (65 %)
@end ifnothtml
@tab
@ifhtml
@html
-<span style="background-color: #ffef3f">partially</span>
+<span style="background-color: #ffe541">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
3 @command{lilypond-book}: Integrating text and music
@*
-3439
+3747
@tab Yoshiki Sawada
@tab
@tab
@ifhtml
@html
-<span style="background-color: #62ff28">partially</span>
+<span style="background-color: #83fe2c">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
セクション タイトル
@*
-510
+579
@tab Yoshiki Sawada
@*
Yoshinobu Ishizaki
@ifhtml
@html
-<span style="background-color: #ff6d58">partially</span>
+<span style="background-color: #ff6f57">partially</span>
@end html
@end ifhtml
@ifnothtml
@item
導入部
@*
-4289
+4498
@tab Yoshiki Sawada
@*
Yoshinobu Ishizaki
@item
ダウンロード
@*
-1173
+1169
@tab Yoshiki Sawada
@*
Yoshinobu Ishizaki
@item
マニュアル
@*
-1198
+1200
@tab Yoshiki Sawada
@tab
@tab
@end html
@end ifhtml
-@emph{Meest recente update Mon May 31 11:22:22 UTC 2010
+@emph{Meest recente update Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667 0.166666666667
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #33ff21">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab na-GDP
@item
@item
1 Leerboek
@*
-2504
+2535
@tab Jan Nieuwenhuizen
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #25fe1f">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab voor-GDP
@item
2 Algemene muzieknotatie
@*
-4191
+4182
@tab Jan Nieuwenhuizen
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #25fe1f">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab voor-GDP
@item
3 Fundamentele concepten
@*
-10838
+11173
@tab Jan Nieuwenhuizen
@tab
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #25fe1f">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab voor-GDP
@end multitable
@item
Paragraaftitels
@*
-510
+579
@tab Jan Nieuwenhuizen
@tab Tineke de Munnik
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #a5ff31">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab na-GDP
@item
@item
Inleiding
@*
-4289
+4498
@tab Jan Nieuwenhuizen
@tab Tineke de Munnik
@tab
@ifhtml
@html
-<span style="background-color: #40fe23">gedeeltelijk</span>
+<span style="background-color: #4efe25">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
@item
Download
@*
-1173
+1169
@tab Jan Nieuwenhuizen
@tab Tineke de Munnik
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #4efe25">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab voor-GDP
@item
Handleidingen
@*
-1198
+1200
@tab Jan Nieuwenhuizen
@tab Tineke de Munnik
@tab
@ifhtml
@html
-<span style="background-color: #1fff1f">ja</span>
+<span style="background-color: #5bff27">gedeeltelijk</span>
@end html
@end ifhtml
@ifnothtml
-ja
+gedeeltelijk
@end ifnothtml
@tab voor-GDP
@end multitable
@cindex polymetric scores
@cindex Time signatures, multiple
-@lilypond[quote,relative=1,ragged-right,verbatim,fragment]
-\new Score \with {
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
-} <<
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff \with {
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
+ } {
+ \time 3/4
+ c4 c c c c c
+ }
\new Staff \with {
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
} {
- \time 3/4
+ \time 2/4
c4 c c c c c
}
- \new Staff \with {
- \consists "Timing_translator"
- \consists "Default_bar_line_engraver"
- } {
- \time 2/4
- c4 c c c c c
- }
>>
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ }
+}
@end lilypond
@knownissues
specified by the @code{left-broken} and @code{right-broken}
sub-lists of @code{bound-details}. For example:
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
\override Glissando #'breakable = ##t
\override Glissando #'(bound-details right-broken Y) = #-3
c1 \glissando \break
or @code{stencil-offset} will move the symbol at the edge vertically
relative to the end point of the line:
-@lilypond[relative=1,fragment,verbatim]
+@lilypond[relative=1,quote,verbatim]
\override TextSpanner
#'(bound-details left stencil-align-dir-y) = #-2
\override TextSpanner
Here is an example showing the different line styles available,
and how to tune them.
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
d2 \glissando d'2
\once \override Glissando #'style = #'dashed-line
d,2 \glissando d'2
override these:
@c TODO Complete
-@lilypond[relative=2,ragged-right,verbatim,fragment]
+@lilypond[relative=2,ragged-right,verbatim,quote]
e2 \glissando f
\once \override Glissando #'(bound-details right Y) = #-2
e2 \glissando f
g1
c1
}
- \new Score \chordmode {
+ \chordmode {
c1
r1
g1
@funindex finger
Fingering instructions can be entered using
-@var{note}-@var{digit}:
+@samp{@var{note}-@var{digit}}:
@lilypond[verbatim,quote,relative=2]
c4-1 d-2 f-4 e-3
The full range of colors defined for X11 can be accessed by using
the Scheme function @code{x11-color}. The function takes one
-argument; this can be a symbol in the form @var{'FooBar} or a
-string in the form @var{"FooBar"}. The first form is quicker to
-write and is more efficient. However, using the second form it is
-possible to access X11 colors by the multi-word form of its name.
+argument; this can be a symbol in the form @code{'@var{FooBar}} or
+a string in the form @code{"@var{FooBar}"}. The first form is
+quicker to write and is more efficient. However, using the second
+form it is possible to access X11 colors by the multi-word form of
+its name.
If @code{x11-color} cannot make sense of the parameter then the
color returned defaults to black.
@var{note}\@var{name}
@end example
-The possible values for @var{name} are listed in @ref{List of
-articulations}. For example:
+The possible values for @code{@var{name}} are listed in
+@ref{List of articulations}. For example:
@lilypond[verbatim,quote,relative=2]
c4\staccato c\mordent b2\turn
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c:maj9 }
+\storePredefinedDiagram #default-fret-table \chordmode { c:maj9 }
#guitar-tuning
#"x;3-2;o;o;o;o;"
@lilypond[verbatim, ragged-right, quote]
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c'' }
+\storePredefinedDiagram #default-fret-table \chordmode { c'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes guitar-tuning))
% add some new chords based on the power chord shape
-\storePredefinedDiagram \chordmode { f'' }
+\storePredefinedDiagram #default-fret-table \chordmode { f'' }
#guitar-tuning
#(chord-shape 'powerf guitar-tuning)
-\storePredefinedDiagram \chordmode { g'' }
+\storePredefinedDiagram #default-fret-table \chordmode { g'' }
#guitar-tuning
#(offset-fret 2 (chord-shape 'powerf guitar-tuning))
@lilypond[quote,ragged-right,verbatim]
-\storePredefinedDiagram <c e g c' e'>
+\storePredefinedDiagram #default-fret-table <c e g c' e'>
#guitar-tuning
#"x;3-1-(;5-2;5-3;5-4;3-1-1);"
<<
In relative mode, each note is assumed to be as close to the
previous note as possible. This means that the octave of each
-pitch inside @var{musicexpr} is calculated as follows:
+pitch inside @code{@var{musicexpr}} is calculated as follows:
@itemize
@item
@item
The pitch of the first note is relative to
-@code{@var{startpitch}}. @var{startpitch} is specified in
+@code{@var{startpitch}}. @code{@var{startpitch}} is specified in
absolute octave mode, and it is recommended that it be a octave of
@code{c}.
-
@end itemize
Here is the relative mode shown in action:
@c DEPRECATED
-If no @var{startpitch} is specified for @code{\relative},
+If no @code{@var{startpitch}} is specified for @code{\relative},
then@tie{}@code{c'} is assumed. However, this is a deprecated
option and may disappear in future versions, so its use is
discouraged.
@end lilypond
The octave of notes may also be checked with the
-@code{\octaveCheck}@tie{}@var{controlpitch} command.
-@var{controlpitch} is specified in absolute mode. This checks
-that the interval between the previous note and the
-@var{controlpitch} is within a fourth (i.e., the normal
+@code{\octaveCheck@tie{}@var{controlpitch}} command.
+@code{@var{controlpitch}} is specified in absolute mode. This
+checks that the interval between the previous note and the
+@code{@var{controlpitch}} is within a fourth (i.e., the normal
calculation of relative mode). If this check fails, a warning is
printed, but the previous note is not changed. Future notes are
-relative to the @var{controlpitch}.
+relative to the @code{@var{controlpitch}}.
@lilypond[verbatim,quote]
\relative c'' {
@end example
@noindent
-This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{frompitch} and @var{topitch}: any note
-with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval. Both pitches are
-entered in absolute mode.
+This means that @code{@var{musicexpr}} is transposed by the
+interval between the pitches @code{@var{frompitch}} and
+@code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
+is changed to @code{@var{topitch}} and any other note is
+transposed by the same interval. Both pitches are entered in
+absolute mode.
@warning{Music inside a @code{@bs{}transpose} block is absolute
unless a @code{@bs{}relative} is included in the block.}
@cindex dorian
@noindent
-Here, @var{mode} should be @code{\major} or @code{\minor} to get a
-key signature of @var{pitch}-major or @var{pitch}-minor,
-respectively. You may also use the standard mode names, also
-called @notation{church modes}: @code{\ionian}, @code{\dorian},
-@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
-@code{\aeolian}, and @code{\locrian}.
+Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
+to get a key signature of @code{@var{pitch}}-major or
+@code{@var{pitch}}-minor, respectively. You may also use the
+standard mode names, also called @notation{church modes}:
+@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
+@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
@lilypond[verbatim,quote,relative=2]
\key g \major
@item unfold
The repeated music is fully written out, as many times as
-specified by @var{repeatcount}. This is useful when
+specified by @code{@var{repeatcount}}. This is useful when
entering repetitious music.
@item percent
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
A single repeat without an alternate ending:
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
If there are more repeats than there are alternate endings, the earliest
repeats are given the first alternative.
@end example
@noindent
-where @var{musicexpr} is a music expression and @var{repeatcount} is
-the number of times @var{musicexpr} is repeated.
+where @code{@var{musicexpr}} is a music expression and
+@code{@var{repeatcount}} is the number of times
+@code{@var{musicexpr}} is repeated.
@lilypond[verbatim,quote,relative=2]
\repeat unfold 2 { c4 d e f }
The syntax is
@example
-@code{\repeat percent @var{number} @var{musicexpr}}
+\repeat percent @var{number} @var{musicexpr}
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
Patterns that are shorter than one measure are replaced by slashes.
@funindex tremoloFlags
@funindex :
-The same output can be obtained by adding
-@q{@code{:}[@var{number}]} after the note. The number indicates
-the duration of the subdivision, and it must be at least 8. A
-@var{number} value of 8 gives one line across the note stem. If
-the length is omitted, the last value (stored in
-@code{tremoloFlags}) is used:
+The same output can be obtained by adding @code{:@var{N}} after
+the note, where @code{@var{N}} indicates the duration of the
+subdivision (it must be at least 8). If @code{@var{N}} is 8, one
+beam is added to the note's stem. If @code{@var{N}} is omitted,
+the last value (stored in @code{tremoloFlags}) is used:
@lilypond[quote,verbatim,relative=2]
c2:8 c:32
@end example
@noindent
-The duration of @var{music} will be multiplied by the
+The duration of @code{@var{music}} will be multiplied by the
fraction. The fraction's denominator will be printed over or
under the notes, optionally with a bracket. The most common
tuplet is the triplet in which 3 notes have the duration of 2, so
Spacer rests are available only in note mode and chord mode. In
other situations, for example, when entering lyrics, the
command @code{\skip} is used to skip a musical moment.
-@code{\skip} requires an explicit duration.
+@code{\skip} requires an explicit duration, but this is ignored if
+the lyrics derive their durations from the notes in an associated
+melody through @code{\addlyrics} or @code{\lyricsto}.
@lilypond[quote,verbatim,relative=2]
<<
\score {
\relative c' {
\overrideTimeSignatureSettings
- #'Score
- #'(4 . 4) % time signature fraction
- #'(1 . 4) % base moment fraction
+ #'Score % context
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
@end lilypond
@code{\overrideTimeSignatureSettings} takes five arguments:
-context, time signature fraction, base moment, beat structure, and
-beaming exception. The context is a Scheme symbol that describes
-the context to which the default setting will apply. The
-time signature fraction is a Scheme pair describing the time signature.
-The base moment is a Scheme pair containing the
-numerator and denominator of the basic timing unit for the
-time signature. The beat structure is a Scheme list indicating
-the structure of the beats in the measure, in units of the base moment.
-The beaming exception is an alist containing any beaming rules for the
-time signature that go beyond ending at every beat,
-as described in @ref{Setting automatic beam behavior}.
+
+@enumerate
+@item
+@code{@var{context}}, a Scheme symbol that describes the context
+to which the default setting will apply.
+
+@item
+@code{@var{timeSignatureFraction}}, a Scheme pair describing the
+time signature.
+
+@item
+@code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
+and denominator of the basic timing unit for the time signature.
+
+@item
+@code{@var{beatStructure}}, a Scheme list indicating the structure
+of the beats in the measure, in units of the base moment.
+
+@item
+@code{@var{beamExceptions}}, an alist containing any beaming rules
+for the time signature that go beyond ending at every beat, as
+described in @ref{Setting automatic beam behavior}.
+@end enumerate
@cindex time signature properties, restoring default values
@cindex restoring default properties for time signatures
to the original values:
@lilypond[quote,verbatim]
-
\score{
\relative c' {
\repeat unfold 8 c8 |
\overrideTimeSignatureSettings
- #'Score
- #'(4 . 4)
- #'(1 . 4)
- #'(3 1)
- #'((end . (((1 . 8) . (3 1)))))
+ #'Score % context
+ #'(4 . 4) % timeSignatureFraction
+ #'(1 . 4) % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'((end . (((1 . 8) . (3 1))))) % beamExceptions
\time 4/4
\repeat unfold 8 c8 |
\revertTimeSignatureSettings #'Score #'(4 . 4)
@end example
@noindent
-where @code{duration} is the rhythmic length of the remaining
-interval of the current measure before the start of the next.
+where @code{@var{duration}} is the rhythmic length of the
+remaining interval of the current measure before the start of the
+next.
@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
to turn them on again.
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
Bar numbering is resumed at the end of the cadenza as if the
cadenza were not there:
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
You must explicitly create a @code{Voice} context when starting a
piece with @code{\cadenzaOn}, otherwise strange errors may occur.
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,relative=2,quote]
\new Voice \relative c'{
\cadenzaOn
c16^"Solo Free Time" d e f g2. \bar "||"
@item
if a beam-ending rule is defined in @code{beamExceptions}
-for the beam type, use it to determine the valid places where
+for the beam-type, use it to determine the valid places where
beams may end, otherwise
@item
if a beam-ending rule is defined in @code{beamExceptions}
-for a larger beam-type, use it to determined the valid places
+for a longer beam-type, use it to determined the valid places
where beams may end, otherwise
@item
@end itemize
-The beam type is the duration of the shortest note in the beamed group.
-If no beam-ending rule is defined for a beam type, the rule for the
-smallest beam-type larger than the current beam is used.
+The beam-type is the duration of the shortest note in the beamed group.
@i{@strong{Modifying the grouping of beats}}
@funindex bar
@funindex bartype
-The command @code{\bar }@var{bartype} is a shortcut for
-@code{\set Timing.whichBar = }@var{bartype}. A bar line is
+The command @samp{\bar @var{bartype}} is a shortcut for
+@samp{\set Timing.whichBar = @var{bartype}}. A bar line is
created whenever the @code{whichBar} property is set.
The default bar type used for automatically inserted bar lines is
-@code{"|"}. This may be changed at any time
-with @code{\set Timing.defaultBarType = }@var{bartype}.
+@code{"|"}. This may be changed at any time with
+@samp{\set Timing.defaultBarType = @var{bartype}}.
@seealso
@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
@rlearning{Explicitly instantiating voices}.
+@strong{@i{Voice order}}
+
+When entering multiple voices in the input file, use the following
+order:
+
+@example
+Voice 1: highest
+Voice 2: lowest
+Voice 3: second highest
+Voice 4: second lowest
+Voice 5: third highest
+Voice 6: third lowest
+etc.
+@end example
+
+Though this may seem counterintuitive, it simplifies the automatic
+layout process. Note that the odd-numbered voices are given
+upstems, and the even-numbered voices are given downstems:
+
+@lilypond[quote,verbatim]
+\new Staff <<
+ \time 2/4
+ { f''2 } % 1: highest
+ \\
+ { c'2 } % 2: lowest
+ \\
+ { d''2 } % 3: second-highest
+ \\
+ { e'2 } % 4: second-lowest
+ \\
+ { b'2 } % 5: third-highest
+ \\
+ { g'2 } % 6: third-lowest
+>>
+@end lilypond
+
@strong{@i{Identical rhythms}}
In the special case that we want to typeset parallel pieces of music
>>
@end lilypond
-The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
-commands specify the degree to which chords of the current voice
-should be shifted. The outer voices (normally: voices one and
-two) have @code{\shiftOff}, while the inner voices (three and
-four) have @code{\shiftOn}. @code{\shiftOnn} and
-@code{\shiftOnnn} define further shift levels.
+The @code{\shiftOn} command allows (but does not force) the notes
+in a voice to be shifted. When @code{\shiftOn} is applied to a
+voice, a note or chord in that voice is shifted only if its stem
+would otherwise collide with a stem from another voice, and only
+if the colliding stems point in the same direction. The
+@code{\shiftOff} command prevents this type of shifting from
+occuring.
+
+By default, the outer voices (normally voices one and two) have
+@code{\shiftOff} specified, while the inner voices (three and
+above) have @code{\shiftOn} specified. When a shift is applied,
+voices with upstems (odd-numbered voices) are shifted to the
+right, and voices with downstems (even-numbered voices) are
+shifted to the left.
+
+Here is an example to help you visualize how an abbreviated
+polyphonic expression would be expanded internally.
+
+@warning{Note that with three or more voices, the vertical order
+of voices in your input file should not be the same as the
+vertical order of voices on the staff!}
+
+@lilypond[quote,verbatim]
+\new Staff \relative c'' {
+ %% abbreviated entry
+ <<
+ { f2 } % 1: highest
+ \\
+ { g,2 } % 2: lowest
+ \\
+ { d'2 } % 3: upper middle
+ \\
+ { b2 } % 4: lower middle
+ >>
+ %% internal expansion of the above
+ <<
+ \new Voice = "1" { \voiceOne \shiftOff f'2 }
+ \new Voice = "2" { \voiceTwo \shiftOff g,2 }
+ \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
+ \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
+ >>
+}
+@end lilypond
+
+Two additional commands, @code{\shiftOnn} and @code{\shiftOnnn}
+provide further shift levels which may be specified temporarily to
+resolve collisions in complex situations -- see
+@rlearning{Real music example}.
Notes are only merged if they have opposing stem directions (as
they have, for example, in voices one and two by default or when
@noindent
A @code{\relative} section that is outside of @code{\partcombine}
-has no effect on the pitches of @var{musicexpr1} and
-@var{musicexpr2}.
+has no effect on the pitches of @code{@var{musicexpr1}} and
+@code{@var{musicexpr2}}.
@snippets
@code{#1}.
@item max-systems-per-page
+@funindex max-systems-per-page
+
The maximum number of systems that will be placed on a page. This
is currently supported only by the @code{ly:optimal-breaking} algorithm.
Default: unset.
@item min-systems-per-page
+@funindex min-systems-per-page
+
The minimum number of systems that will be placed on a page. This
may cause pages to be overfilled if it is made too large. This is
currently supported only by the @code{ly:optimal-breaking} algorithm.
}
\score {
- \new Score \with {
- \override NonMusicalPaperColumn #'line-break-permission = ##f
- \override NonMusicalPaperColumn #'page-break-permission = ##f
- } {
- \new Staff {
- \repeat unfold 2 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 8 { c'8 c'8 c'8 c'8 } \pageBreak
- \repeat unfold 8 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
- \repeat unfold 2 { c'8 c'8 c'8 c'8 }
+ \new Staff {
+ \repeat unfold 2 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 8 { c'8 c'8 c'8 c'8 } \pageBreak
+ \repeat unfold 8 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 6 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 4 { c'8 c'8 c'8 c'8 } \break
+ \repeat unfold 2 { c'8 c'8 c'8 c'8 }
+ }
+ \layout {
+ \context {
+ \Score
+ \override NonMusicalPaperColumn #'line-break-permission = ##f
+ \override NonMusicalPaperColumn #'page-break-permission = ##f
}
}
}
Line- and page-breaking information usually appears within note entry directly.
@example
-\new Score @{
+\score @{
\new Staff @{
\repeat unfold 2 @{ c'4 c'4 c'4 c'4 @}
\break
breaking layout information.
@lilypond[quote,verbatim]
-\new Score {
+\score {
\new Staff <<
- \new Voice {
- s1 * 2 \break
- s1 * 3 \break
- s1 * 6 \break
- s1 * 5 \break
- }
- \new Voice {
- \repeat unfold 2 { c'4 c'4 c'4 c'4 }
- \repeat unfold 3 { c'4 c'4 c'4 c'4 }
- \repeat unfold 6 { c'4 c'4 c'4 c'4 }
- \repeat unfold 5 { c'4 c'4 c'4 c'4 }
- }
+ \new Voice {
+ s1 * 2 \break
+ s1 * 3 \break
+ s1 * 6 \break
+ s1 * 5 \break
+ }
+ \new Voice {
+ \repeat unfold 2 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 3 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 6 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 5 { c'4 c'4 c'4 c'4 }
+ }
>>
}
@end lilypond
@code{NonMusicalPaperColumnGrob}, as explained in @ref{Vertical spacing}.
@lilypond[quote,verbatim]
-\new Score {
+\score {
\new Staff <<
- \new Voice {
-
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \new Voice {
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
- s1 * 2 \break
+ s1 * 2 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 35))
- s1 * 3 \break
+ s1 * 3 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 70))
- s1 * 6 \break
+ s1 * 6 \break
- \overrideProperty "Score.NonMusicalPaperColumn"
+ \overrideProperty "Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 105))
- s1 * 5 \break
- }
- \new Voice {
- \repeat unfold 2 { c'4 c'4 c'4 c'4 }
- \repeat unfold 3 { c'4 c'4 c'4 c'4 }
- \repeat unfold 6 { c'4 c'4 c'4 c'4 }
- \repeat unfold 5 { c'4 c'4 c'4 c'4 }
- }
+ s1 * 5 \break
+ }
+ \new Voice {
+ \repeat unfold 2 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 3 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 6 { c'4 c'4 c'4 c'4 }
+ \repeat unfold 5 { c'4 c'4 c'4 c'4 }
+ }
>>
}
@end lilypond
@lilypond[quote,ragged-right]
{
c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
+ b'4 e''4 b'4 e''4 |
\override Staff.NoteSpacing #'stem-spacing-correction = #1.5
\override Staff.StaffSpacing #'stem-spacing-correction = #1.5
c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
+ b'4 e''4 b'4 e''4 |
}
@end lilypond
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 16)
+ #'base-shortest-duration = #(ly:make-moment 1 16)
}
}
}
@code{Score.SpacingSpanner #'uniform-stretching}. This
property can only be changed at the beginning of a score,
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\new Score \with {
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new Staff{
- \times 4/5 {
- c8 c8 c8 c8 c8
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new Staff {
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ c8 c8 c8 c8
}
- c8 c8 c8 c8
- }
- \new Staff{
- c8 c8 c8 c8
- \times 4/5 {
- c8 c8 c8 c8 c8
+ \new Staff {
+ c8 c8 c8 c8
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'uniform-stretching = ##t
}
}
->>
+}
@end lilypond
When @code{strict-note-spacing} is set, notes are spaced without
spacing with ragged-right turned on.
@lilypond[quote,verbatim,ragged-right]
-\new Score <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
->>
+ >>
+}
@end lilypond
Notice that the half note which begins the measure takes up far less
setting.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
}
}
->>
+}
@end lilypond
The half note at the beginning of the measure and the faster notes in
space. We could place a measured timeline or graphic above or below
this example.
-The @code{proportionalNotationDuration} setting is a context setting that
-lives in @code{Score}. Recall that context settings appear in one of
-three locations in our input file -- in a @code{\with} block, in a
-@code{\context} block, or directly in music entry
-preceded by the @code{\set} command. As with all
-context settings, users can pick which of the three different
-locations they would like to set @code{proportionalNotationDuration}.
+The @code{proportionalNotationDuration} setting is a context setting
+that lives in @code{Score}. Remember that context settings can appear
+in one of three locations within our input file -- in a @code{\with}
+block, in a @code{\context} block, or directly in music entry preceded
+by the @code{\set} command. As with all context settings, users can
+pick which of the three different locations they would like to
+set @code{proportionalNotationDuration} in to.
The @code{proportionalNotationDuration} setting takes a single argument,
-which is the reference duration against which all music will be
-spaced. The LilyPond Scheme function make-moment takes two arguments
+which is the reference duration against that all music will be spaced.
+The LilyPond Scheme function @code{make-moment} takes two arguments
-- a numerator and denominator which together express some fraction of
-a whole note. The call @code{#(ly:make-moment 1 20)} therefore produces a
-reference duration of a twentieth note. The values
+a whole note. The call @code{#(ly:make-moment 1 20)} therefore produces
+a reference duration of a twentieth note. Values such as
@code{#(ly:make-moment 1 16)}, @code{#(ly:make-moment 1 8)}, and
@code{#(ly:make-moment 3 97)} are all possible as well.
How do we select the right reference duration to pass to
-@code{proportionalNotationDuration}? Usually by a process of trial and error,
-beginning with a duration close to the fastest (or smallest) duration
-in the piece. Smaller reference durations space music loosely; larger
-reference durations space music tightly.
+@code{proportionalNotationDuration}? Usually by a process of trial
+and error, beginning with a duration close to the fastest (or smallest)
+duration in the piece. Smaller reference durations space music loosely;
+larger reference durations space music tightly.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 8)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 8)
}
}
->>
+}
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 16)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 16)
}
}
->>
+}
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 32)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 32)
}
}
->>
+}
@end lilypond
Note that too large a reference duration -- such as the eighth note,
above -- spaces music too tightly and can cause note head collisions.
-Note also that proportional notation in general takes up more
-horizontal space that does classical spacing. Proportional spacing
-provides rhythmic clarity at the expense of horizontal space.
+Also that proportional notation in general takes up more horizontal
+space than classical spacing. Proportional spacing provides rhythmic
+clarity at the expense of horizontal space.
Next we examine how to optimally space overlapping tuplets.
tuplet.
@lilypond[quote,verbatim,ragged-right]
-\new Score <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
}
- }
->>
+ >>
+}
@end lilypond
-The spacing is bad because the evenly notes of the bottom staff do not
-stretch uniformly. Classical engraving includes very few complex
+The spacing is bad because the evenly spaced notes of the bottom staff
+do not stretch uniformly. Classical engravings include very few complex
triplets and so classical engraving rules can generate this type of
-result. Setting @code{proportionalNotationDuration} remedies this
-situation considerably.
+result. Setting @code{proportionalNotationDuration} fixes this.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
}
}
->>
+}
@end lilypond
But if we look very carefully we can see that notes of the second half
-of the 9-tuplet space ever so slightly more widely than do the notes
+of the 9-tuplet space ever so slightly more widely than the notes
of the first half of the 9-tuplet. To ensure uniform stretching, we
turn on @code{uniform-stretching}, which is a property of
@code{SpacingSpanner}.
@lilypond[quote,verbatim,ragged-right]
-\new Score \with {
- proportionalNotationDuration = #(ly:make-moment 1 20)
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new RhythmicStaff {
- c'2
- c'16 c'16 c'16 c'16
- \times 4/5 {
- c'16 c'16 c'16 c'16 c'16
+\score {
+ <<
+ \new RhythmicStaff {
+ c'2
+ c'16 c'16 c'16 c'16
+ \times 4/5 {
+ c'16 c'16 c'16 c'16 c'16
+ }
}
- }
- \new RhythmicStaff {
- \times 8/9 {
- c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ \new RhythmicStaff {
+ \times 8/9 {
+ c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ proportionalNotationDuration = #(ly:make-moment 1 20)
+ \override SpacingSpanner #'uniform-stretching = ##t
}
}
->>
+}
@end lilypond
Our two-staff example now spaces exactly, our rhythmic
@lilypond[verbatim,quote,relative=1]
e4 c g\f c
-\override DynamicText #'extra-offset = #'( -2.2 . 2.0)
-e4 c g\f c
+e4 c g-\tweak #'X-offset #-2.7 -\tweak #'Y-offset #2.5 \f c
@end lilypond
@item
Only the contents of the first @code{Voice} occurring in an
@code{\addQuote} command will be considered for quotation, so
-@var{music} cannot contain @code{\new} and @code{\context Voice}
-statements that would switch to a different Voice.
+@code{@var{music}} cannot contain @code{\new} and
+@code{\context Voice} statements that would switch to a different
+Voice.
Quoting grace notes is broken and can even cause LilyPond to
crash.
\cueDuring #@var{partname} #@var{voice} @var{music}
@end example
-This command copies only the notes and rests from the corresponding measures
-from @var{partname} into a @code{CueVoice} context. The @code{CueVoice} is
-created implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation. The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
+This command copies only the notes and rests from the
+corresponding measures from @code{@var{partname}} into a
+@code{CueVoice} context. The @code{CueVoice} is created
+implicitly, and occurs simultaneously with @code{@var{music}},
+which creates a polyphonic situation. The @code{@var{voice}}
+argument determines whether the cue notes should be notated as a
+first or second voice; @code{UP} corresponds to the first voice,
+and @code{DOWN} corresponds to the second.
@lilypond[verbatim,quote]
oboe = \relative c'' {
@cindex Bartók pizzicato
@cindex snap pizzicato
-@snippets
+A @notation{snap pizzicato} (also known as @qq{Bartok pizz}) is a
+type of pizzicato where the string is deliberately plucked upwards
+(rather than sideways) such that it hits the fingerboard.
+
+@lilypond[verbatim,quote,relative=1]
+c4\snappizzicato
+<c' e g>4\snappizzicato
+<c' e g>4^\snappizzicato
+<c, e g>4_\snappizzicato
+@end lilypond
+
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{snap-pizzicato-bartok-pizzicato.ly}
Making a lyric line run slower than the melody can be achieved by
inserting @code{\skip}s into the lyrics. For every @code{\skip},
-the text will be delayed another note. The @code{\skip} command
+the text will be delayed by another note. The @code{\skip} command
must be followed by a valid duration, but this is ignored when
-@code{\skip} is used in lyrics.
+@code{\skip} is used in lyrics which derive their durations from the
+notes in an associated melody through @code{\addlyrics} or
+@code{\lyricsto}.
@lilypond[verbatim,ragged-right,quote]
\relative c' { c c g' }
* Divisi lyrics::
* Lyrics independent of notes::
* Spacing out syllables::
-* Placement of lyrics between staves::
+* Placement of lyrics::
@end menu
@unnumberedsubsubsec Lyrics and repeats
@cindex repeats and lyrics
-
-@c see http://lists.gnu.org/archive/html/lilypond-user/2010-07/msg00022.html
-@c see http://lists.gnu.org/archive/html/lilypond-user/2010-06/msg00472.html
+@cindex lyrics, repeating
@subheading Simple repeats
@ref{Repeats}. This section explains how to add lyrics to repeated
sections of music.
-Lyrics to a volta repeat can be written exactly as if the music was
-not repeated, if the words are unchanged.
+Lyrics to a section of music that is repeated should be surrounded
+by exactly the same repeat construct as the music, if the words are
+unchanged.
@lilypond[verbatim,quote]
\score {
\new Lyrics {
\lyricsto "melody" {
Not re -- peat -- ed.
- Re -- peat -- ed twice.
+ \repeat volta 2 { Re -- peat -- ed twice. }
}
}
>>
}
@end lilypond
-But if an unfold repeat is used, both the lyrics and the music must
-be repeated (assuming the repeated words are the same), otherwise
-the repeated section will have no lyrics.
+The words will then be correctly expanded if the repeats are
+unfolded.
@lilypond[verbatim,quote]
\score {
- <<
- \new Staff {
- \new Voice = "melody" {
- \relative c'' {
- a4 a a a
- \repeat unfold 2 { b4 b b b }
+ \unfoldRepeats {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
}
}
- }
- \new Lyrics {
- \lyricsto "melody" {
- Not re -- peat -- ed.
- \repeat unfold 2 { Re -- peat -- ed twice. }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
}
- }
- >>
+ >>
+ }
}
@end lilypond
}
@end lilypond
+@cindex lyric skip
+@funindex \skip
+
When the words to a repeated volta section are different the words
-to each repeat must entered in separate @code{Lyrics} contexts.
+to each repeat must be entered in separate @code{Lyrics} contexts.
Earlier unrepeated sections must be skipped in the second and
subsequent repeats. The easiest way to skip several notes is to
-use @code{\repeat unfold} around the @code{\skip}.
+use @code{\repeat unfold} around the @code{\skip} command.
+
+Note: do not use an underscore, @code{_}, to skip notes as this
+indicates a melisma and will cause the preceding syllable to be
+left-aligned.
-@warning{The @code{\skip} command must be followed by a number,
-but this number is ignored in lyric mode. Each @code{\skip} skips
-a single note of any value, irrespective of the value of the
-following number.}
+@warning{The @code{@bs{}skip} command must be followed by a number,
+but this number is ignored in lyrics which derive their durations
+from the notes in an associated melody through @code{\addlyrics} or
+@code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
+value, irrespective of the value of the following number.}
@lilypond[verbatim,quote]
\score {
}
@end lilypond
-An alternative way, which avoids having to count notes, is to use a
-temporary voice for the repeated section. This may be useful if
-the earlier sections are still subject to change. A temporary voice
-can be inserted anywhere in the main music stream in parallel with
-it, as shown below, but it may be necessary to keep the main voice
-alive in complex scores when using this technique; see
-@ref{Keeping contexts alive}.
+@cindex lyrics, repeating with a temporary voice
+
+An alternative way, which avoids skips and having to count notes,
+is to use a temporary voice for the repeated section. This may be
+preferable if the earlier sections are still subject to change. A
+temporary voice can be inserted anywhere in the main music stream
+in parallel with it, as shown below, but it may be necessary to
+keep the main voice alive in complex scores when using this
+technique; see @ref{Keeping contexts alive}.
@lilypond[verbatim,quote,ragged-right]
\score {
@subheading Repeats with alternative endings
-TBC
+@cindex lyrics, repeats with alternative endings
+@cindex repeating lyrics with alternative endings
+@cindex alternative endings and lyrics
+
+If the words of the repeated section are the same, exactly the
+same structure can be used for both the lyrics and music.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- }
+ \alternative { { ed twice. } { ed twice. } }
+ }
+ }
+ >>
+}
+@end lilypond
+
+But when the repeated section has different words, a repeat
+construct cannot be used around the words and @code{\skip} commands
+have to be inserted manually as described in the previous section to
+skip over the notes in the alternative sections which do not apply.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ The first time words.
+ \repeat unfold 2 { \skip 1 }
+ End here.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Sec -- ond
+ \repeat unfold 2 { \skip 1 }
+ time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex lyrics and tied notes
+@funindex \repeatTie
+
+When a note is tied over into two or more alternative endings a
+tie is used to carry the note into the first alternative ending and
+a @code{\repeatTie} is used in the second and subsequent endings.
+This structure causes difficult alignment problems when lyrics are
+involved and increasing the length of the alternative sections so
+the tied notes are contained wholly within them may give a more
+acceptable result.
+
+The tie creates a melisma into the first alternative, but not into
+the second and subsequent alternatives, so to align the lyrics
+correctly it is necessary to disable the automatic creation of
+melismata over the volta section and insert manual skips.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \set melismaBusyProperties = #'()
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ \unset melismaBusyProperties
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ \repeat volta 2 { Here's a __ }
+ \alternative {
+ { \skip 1 verse }
+ { \skip 1 sec }
+ }
+ ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+Note that if @code{\unfoldRepeats} is used around a section
+containing @code{\repeatTie}, the @code{\repeatTie} should be
+removed to avoid both types of tie being printed.
+
+When the repeated section has different words a @code{\repeat}
+cannot be used around the lyrics and @code{\skip} commands need to
+be inserted manually, as before.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's one
+ \repeat unfold 2 { \skip 1 }
+ more to sing.
+ }
+ }
+ >>
+}
+@end lilypond
+
+If you wish to show extenders and hyphens into and out of
+alternative sections these must be inserted manually.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's "a_"
+ \skip 1
+ "_" sec -- ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
@node Divisi lyrics
@end ignore
-@node Placement of lyrics between staves
-@unnumberedsubsubsec Placement of lyrics between staves
+@node Placement of lyrics
+@unnumberedsubsubsec Placement of lyrics
+
+@cindex placement of lyrics
+@cindex lyrics, positioning
@c TODO Add text from -user
-@c TODO Add new spacing properties, centering lyrics, etc
-TBC
+
+Lyrics are positioned above the staff, below the staff, or between
+staves, depending on the type of music. To place lyrics below the
+associated staff simply define the Lyrics context below the Staff
+context:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+To position lyrics above the staff, place the declaration of the
+Lyrics context before the Staff and Voice contexts, but the
+@code{\lyricsto} command must come after the Voice declaration it
+references, like this:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Lyrics = "lyrics"
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \context Lyrics = "lyrics" {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Alternatively, the position of the lyrics may be specified
+explicitly:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff = "staff" {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics \with { alignAboveContext = "staff" } {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+When there are two voices on separate staves the lyrics may be
+placed between the staves using either of these methods. Here
+is an example of the first method:
+
+@lilypond[quote,verbatim]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos"
+ \new Staff {
+ \new Voice = "contraltos" {
+ \relative c'' { a4 a a a }
+ }
+ }
+ \context Lyrics = "sopranos" {
+ \lyricsto "sopranos" {
+ Sop -- ra -- no words
+ }
+ }
+ \context Lyrics = "contraltos" {
+ \lyricsto "contraltos" {
+ Con -- tral -- to words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Other combinations of lyrics and staves may be generated by
+elaborating these examples, or by examining the SATB templates in
+the Learning Manual.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Aligning contexts},
+@ref{Creating contexts}.
@node Stanzas
@subsection Stanzas
@node References for songs
@unnumberedsubsubsec References for songs
-@c TODO chords, setting simple songs (LM), stanzas
-TBC
+Songs are usually written on three staves with the melody for the
+singer on the top staff and two staves of piano accompaniment at
+the bottom. The lyrics of the first stanza are printed immediately
+underneath the top staff. If there are just a small number of
+further stanzas these can be printed immediately under the first
+one, but if there are more stanzas than can be easily accommodated
+there the second and subsequent stanzas are printed after the music
+as stand-alone text.
+
+All the notational elements needed to write songs are fully described
+elsewhere:
+
+@itemize
+
+@item
+For constructing the staff layout, see @ref{Displaying staves}.
+
+@item
+For writing piano music, see
+@ref{Keyboard and other multi-staff instruments}.
+
+@item
+For writing the lyrics to a melody line, see
+@ref{Common notation for vocal music}.
+
+@item
+For placing the lyrics, see @ref{Placement of lyrics}.
+
+@item
+For entering stanzas, see @ref{Stanzas}.
+
+@item
+Songs are frequently printed with the chording indicated by chord
+names above the staves. This is described in
+@ref{Displaying chords}.
+
+@item
+To print fret diagrams of the chords for guitar accompaniment or
+accompaniment by other fretted instruments, see @qq{Fret diagram
+markups} in @ref{Common notation for fretted strings}.
+
+@end itemize
+
+@seealso
+Learning Manual:
+@rlearning{Songs}.
+
+Notation Reference:
+@ref{Common notation for vocal music},
+@ref{Displaying chords},
+@ref{Displaying staves},
+@ref{Keyboard and other multi-staff instruments},
+@ref{Placement of lyrics},
+@ref{Stanzas}.
@node Lead sheets
@unnumberedsubsubsec Lead sheets
@ref{Fitting music onto fewer pages},
@ref{Page formatting},
@ref{Score layout},
-See @ref{Separating systems},
+@ref{Separating systems},
@ref{Setting the staff size},
@ref{Using an extra voice for breaks},
@ref{Vertical spacing}.
@menu
* References for opera and stage musicals::
* Character names::
+* Musical cues::
* Spoken music::
* Dialogue over music::
@end menu
For details of other page formatting properties, see
@ref{Page formatting}.
-@item
-Musical cues can be inserted with the @code{\cueDuring} predefined
-command. For details of its use see @ref{Formatting cue notes}.
-
@item
Dialogue cues and stage directions can be inserted with markup.
See @ref{Text}. Extensive stage directions can be inserted with
@end itemize
-@predefined
-@code{\cueDuring},
-@code{\quoteDuring}.
-
@seealso
Musical Glossary:
-@rglos{cue-notes},
@rglos{Frenched score},
@rglos{Frenched staves},
@rglos{transposing instrument}.
-Notation Manual:
+Notation Reference:
@ref{Grouping staves},
@ref{Hiding staves},
-@ref{Instrument names},
@ref{Instrument transpositions},
@ref{Nested staff groups},
@ref{Page formatting},
-@ref{Selecting font and font size},
@ref{Separating systems},
-@ref{Text},
@ref{Transpose},
@ref{Writing parts},
@ref{Writing text}.
specific font is used for this purpose.
@lilypond[quote,verbatim,relative=1]
-\override TextScript #'font-family = #'typewriter
-\override TextScript #'font-size = #2
\clef "G_8"
-c4^\markup Kaspar
+c4^\markup \fontsize #1 \smallCaps Kaspar
c c c
\clef "bass"
-a4^\markup Melchior
+a4^\markup \fontsize #1 \smallCaps Melchior
a a a
+\clef "G_8"
+c4^\markup \fontsize #1 \smallCaps Kaspar
+c c c
+@end lilypond
+
+Alternatively, if there are many character changes, it may be
+easier to set up @qq{instrument} definitions for each character at
+the top level so that @code{\instrumentSwitch} can be used to
+indicate each change.
+
+@lilypond[quote,verbatim]
+\addInstrumentDefinition #"kaspar"
+ #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
+ (shortInstrumentName . "Kas.")
+ (clefGlyph . "clefs.G")
+ (clefOctavation . -7)
+ (middleCPosition . 1)
+ (clefPosition . -2)
+ (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
+ (midiInstrument . "voice oohs"))
+
+\addInstrumentDefinition #"melchior"
+ #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
+ (shortInstrumentName . "Mel.")
+ (clefGlyph . "clefs.F")
+ (clefOctavation . 0)
+ (middleCPosition . 6)
+ (clefPosition . 2)
+ (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
+ (midiInstrument . "voice aahs"))
+
+\relative c' {
+ \instrumentSwitch "kaspar"
+ c4 c c c
+ \instrumentSwitch "melchior"
+ a4 a a a
+ \instrumentSwitch "kaspar"
+ c4 c c c
+}
@end lilypond
@seealso
Notation Reference:
@ref{Instrument names},
-@ref{Selecting font and font size},
-@ref{Text}.
+@ref{Scheme functions},
+@ref{Text},
+@ref{Text markup commands}.
+
+Extending LilyPond:
+@rextend{Markup construction in Scheme}.
+
+@node Musical cues
+@unnumberedsubsubsec Musical cues
+
+@cindex musical cues
+@cindex cues, musical
+
+Musical cues can be inserted in Vocal Scores, Vocal Books and
+Orchestral Parts to indicate what music in another part
+immediately precedes an entry. Also, cues are often inserted in the
+piano reduction in Vocal Scores to indicate what each orchestral
+instrument is playing. This aids the conductor when a full
+Conductors' Score is not available.
+
+The basic mechanism for inserting cues is fully explained in the
+main text, see @ref{Quoting other voices} and
+@ref{Formatting cue notes}. But when many cues have to be
+inserted, for example, as an aid to a conductor in a vocal score,
+the instrument name must be positioned carefully just before and
+close to the start of the cued notes. The following example shows
+how this is done. Note that the name of the grob for overriding
+the cued instrument name is @code{InstrumentSwitch}.
+
+@lilypond[quote,verbatim]
+flute = \relative c'' {
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+pianoRH = \relative c'' {
+ c4. g8
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument above the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #UP
+ \set CueVoice.instrumentCueName = "Flute"
+ \cueDuring "flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ \new PianoStaff <<
+ \new Staff {
+ \pianoRH
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+}
+@end lilypond
+
+If a transposing instrument is being cued the instrument part should
+specify its key so the conversion of its cued notes will be done
+automatically. The example below shows this transposition for a
+B-flat clarinet. The notes in this example are low on the staff so
+@code{#DOWN} is specified in @code{\cueDuring} (so the stems are
+down) and the instrument name is positioned below the staff. Note
+also that the piano right-hand voice is explicitly declared. This
+is because the cued notes in this example begin at the start of the
+first bar and this would otherwise cause the entire piano right-hand
+notes to be placed in a @code{CueVoice} context.
+
+@lilypond[quote,verbatim]
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument below the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
+ \set CueVoice.instrumentCueName = "Clar."
+ \cueDuring "clarinet" #DOWN { c4. g8 }
+ g4 bes4
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ <<
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
+@end lilypond
+
+From these two examples it is clear that inserting many cues in a
+Vocal Score would be extremely tedious, and the notes of the piano
+part would be obscured by the many overrides. However, as the
+following snippet shows, it is possible to define a music function
+to reduce the amount of typing and to make the piano notes clearer.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{adding-orchestral-cues-to-a-vocal-score.ly}
+
+@seealso
+Musical Glossary:
+@rglos{cue-notes}.
+
+Notation Reference:
+@ref{Aligning objects},
+@ref{Direction and placement},
+@ref{Formatting cue notes},
+@ref{Quoting other voices},
+@ref{Using music functions}.
+
+Snippets:
+@rlsr{vocal-music}.
+
+Internals Reference:
+@rinternals{InstrumentSwitch},
+@rinternals{CueVoice}.
+
+@knownissues
+@code{\cueDuring} automatically inserts a @code{CueVoice} context
+and all cue notes are placed in that context. This means it is not
+possible to have two overlapping sequences of cued notes by this
+technique. Overlapping sequences could be entered by explicitly
+declaring separate @code{CueVoice} contexts and using
+@code{\quoteDuring} to extract and insert the cued notes.
@node Spoken music
@item clarinet
@item bass clarinet
@item saxophone
-@item basson
+@item bassoon
@item contrabassoon
@end itemize
--- /dev/null
+% Do not edit this file; it is automatically
+% generated from Documentation/snippets/new
+% This file is in the public domain.
+%% Note: this file works from version 2.13.34
+\version "2.13.36"
+
+\header {
+%% Translation of GIT committish: 5a7301fc350ffc3ab5bd3a2084c91666c9e9a549
+
+ texidoces = "
+ Este ejemplo muestra una forma de simplificar la adición de muchas
+notas guía orquestales a la reducción de piano en una partitura vocal.
+La función musical @code{\\cueWhile} toma cuatro argumentos: la música
+de la que se toma la cita, como viene definida por @code{\\addQuote},
+el nombre que insertar antes de las notas guía, y después @code{#UP} o
+@code{#DOWN} para especificar @code{\\voiceOne} con el nombre encima
+del pentagrama o bien @code{\\voiceTwo} con el nombre debajo del
+pentagrama, y finalmente la música de piano con la que las notas guía
+deben aparecer en paralelo. El nombre del instrumento citado se
+posiciona a la izquierda de las notas guía. Se pueden citar muchos
+pasajes como guía, pero no se pueden superponer en el tiempo entre
+ellos.
+
+"
+
+ doctitlees = "Añadir notas guía orquestales a una partitura vocal"
+
+
+
+
+ lsrtags="vocal-music, staff-notation"
+ texidoc="
+ This shows one approach to simplify adding many orchestral cues to
+the piano reduction in a vocal score. The music function
+@code{\\cueWhile} takes four arguments: the music from which the cue
+is to be taken, as defined by @code{\\addQuote}, the name to be
+inserted before the cue notes, then either @code{#UP} or @code{#DOWN}
+to specify either @code{\\voiceOne} with the name above the staff or
+@code{\\voiceTwo} with the name below the staff, and finally the piano
+music in parallel with which the cue notes are to appear. The name
+of the cued instrument is positioned to the left of the cued notes.
+Many passages can be cued, but they cannot overlap each other in time.
+"
+ doctitle = "Adding orchestral cues to a vocal score"
+} % begin verbatim
+
+
+cueWhile =
+ #(define-music-function
+ (parser location instrument name dir music)
+ (string? string? ly:dir? ly:music?)
+ #{
+ \cueDuring $instrument #$dir {
+ \once \override CueVoice.InstrumentSwitch #'self-alignment-X = #RIGHT
+ \once \override CueVoice.InstrumentSwitch #'direction = $dir
+ \set CueVoice.instrumentCueName = $name
+ { $music }
+ }
+ #}
+ )
+
+flute = \relative c'' {
+ \transposition c'
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+singer = \relative c'' { c4. g8 g4 bes4 }
+words = \lyricmode { here's the lyr -- ics }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ \cueWhile "clarinet" "Clar." #DOWN { c4. g8 }
+ \cueWhile "flute" "Flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singer" {
+ \singer
+ }
+ }
+ \new Lyrics {
+ \lyricsto "singer"
+ \words
+ }
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
\ No newline at end of file
-%% Do not edit this file; it is automatically
-%% generated from LSR http://lsr.dsi.unimi.it
-%% This file is in the public domain.
+% Do not edit this file; it is automatically
+% generated from Documentation/snippets/new
+% This file is in the public domain.
+%% Note: this file works from version 2.13.32
\version "2.13.32"
\header {
- lsrtags = "vocal-music, template"
+%% Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
+
+ texidocfr = "
+Cet exemple illustre la manière de présenter un cantique tel qu'on le
+trouve dans l'église anglicane. Vous noterez comment sont ajoutés les
+couplets indépendamment de la musique. Dans le but de vous montrer
+plusieurs styles, comparez le code des deux couplets.
+
+"
+ doctitlefr = "Psalmodie anglicane"
+
+ lsrtags = "vocal-music, template"
texidoc = "
This template shows one way of setting out an Anglican psalm chant. It
also shows how the verses may be added as stand-alone text under the
music. The two verses are coded in different styles to demonstrate
more possibilities.
-
"
doctitle = "Anglican psalm template"
} % begin verbatim
+
SopranoMusic = \relative g' {
g1 | c2 b | a1 | \bar "||"
a1 | d2 c | c b | c1 | \bar "||"
@code{cross}, ou @code{xcircle}) ou basés sur la tradition des graveurs
américains (avec quelques noms de note latins).
-LilyPond dispose de deux raccourcis, @code{\aikenHeads} et
-@code{\sacredHarpHeads}, permettant de reproduire déanciens recueils de
+LilyPond dispose de deux raccourcis, @code{\\aikenHeads} et
+@code{\\sacredHarpHeads}, permettant de reproduire déanciens recueils de
chansons américaines.
L'exemple suivant montre plusieurs manières de profiler les têtes de
texidoces = "
Para las improvisaciones o @emph{taqasim} que son libres durante unos
momentos, se puede omitir la indicación de compás y se puede usar
-@code{\cadenzaOn}. Podría ser necesario ajustar el estilo de
+@code{\\cadenzaOn}. Podría ser necesario ajustar el estilo de
alteraciones accidentales, porque la ausencia de líneas divisorias
hará que la alteración aparezca una sola vez. He aquí un ejemplo de
cómo podría ser el comienzo de una improvisación @emph{hijaz}:
%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40
texidocde = "
Bei Improvisation oder @emph{taqasim}, die zeitlich frei gespielt
-werden, kann die Taktart ausgelassen werden und @code{\cadenzaOn}
+werden, kann die Taktart ausgelassen werden und @code{\\cadenzaOn}
kann eingesetzt werden. Es kann nötig sein, den Versetzungszeichenstil
anzupassen, weil sonst die Versetzungszeichen nur einmal ausgegeben
werden, da keine Taktlinien gesetzt sind. Hier ein Beispiel, wie
\version "2.13.31"
\header {
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+
+ texidoces = "
+
+Las digitaciones y números de cuerda que se aplican a las notas
+individuales evitan automáticamente las barras y las plicas de las
+figuras, pero esto no es cierto de forma predeterminada para las
+digitaciones y números de cuerda que se aplican sobre notas
+individuales de acordes. El ejemplo siguiente muestra cómo se puede
+sobreescribir este comportamiento predeterminado.
+
+"
+ doctitlees = "Evitar colisiones con digitaciones de acordes"
+
+
lsrtags = "rhythms, editorial-annotations, chords, tweaks-and-overrides"
texidoc = "
\version "2.13.31"
\header {
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+
+ texidoces = "
+
+Los diagramas de posiciones de acordes se pueden orientar de tres
+formas. De manera predeterminada se alinena la cuerda o traste
+superior en las distintas alineaciones.
+
+
+"
+
+ doctitlees = "Modificar la orientación de los trastes"
+
lsrtags = "fretted-strings"
texidoc = "
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.26
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 31097723b2b816696ad61696630a80ff17a39557
+
+ texidoces = "
+Es posible ajustar la separación en las indicaciones de tesitura.
+
+"
+
+ doctitlees = "Modificación de la separación en las indicaciones de tesitura"
+
+%% Translation of GIT committish: 31097723b2b816696ad61696630a80ff17a39557
+ texidocfr = "L'affichage d'un @emph{ambitus} peut s'affiner pour
+ répondre à vos préférences en matière d'esthétique.
+"
+
+ doctitlefr = "Réglage de l'affichage d'un ambitus"
+
+
lsrtags = "pitches"
texidoc = "It is possible to change the default gap setting for
ambitus."
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.26
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
+
+ texidoces = "
+Este código muestra cómo cambiar la cantidad de puntillos de una nota.
+
+"
+
+ doctitlees = "Modificar el número de puntillos de una nota"
+
+
%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
texidocfr = "Voici comment modifier le nombre de points d'augmentation
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.31
-\version "2.13.31"
+\version "2.13.36"
\header {
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidoces = "
+
+Se puede cambiar el tamaño y grosor de las líneas de los diagramas de
+posiciones para instrumentos de viento madera.
+
+"
+
+ doctitlees = "Modificar el tamaño de los diagramas de viento madera"
+
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+
+ texidocde="
+Die Größe und Dicke der Holzbläserdiagramme kann geändert werden.
+"
+
+ doctitlede = "Größe von Holzbläserdiagrammen ändern"
+
+
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+La taille et l'épaisseur des diagrammes de doigté pour bois est modifiable
+à souhait.
+
+"
+
+ doctitlefr = "Modification de la taille d'un diagramme pour bois"
+
+
lsrtags="winds"
texidoc="
The size and thickness of woodwind diagrams can be changed.
\version "2.13.31"
\header {
- lsrtags = "staff-notation, midi"
+ lsrtags = "rhythms, tweaks-and-overrides, midi"
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
"
doctitlees = "Notación de responsos o salmos"
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidocde = "
+Diese Form der Notation wird benutzt für die Notation von Psalmen, in denen
+die Strophen nicht die gleiche Länge haben.
+
+"
+ doctitlede = "Psalmennotation"
+
+
texidoc = "
This form of notation is used for the chant of the Psalms, where verses
aren't always the same length.
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
La agrupación de pulsos dentro de un compás está controlada por la
-agrupación predeterminada que se establece en @code{beamSettings}.
-Estas agrupaciones se pueden establecer mediante el uso de
-@code{\\overrideBeamSettings}. De forma alternativa, se puede usar la
-función de Scheme @code{set-time-signature} para establecer tanto el
-compás como la regla de agrupamiento predeterminada.
-@code{set-time-signature} acepta tres argumentos: el número de pulsos,
-la longitud del pulso y la agrupación interna de los pulsos en el
-compás. Si el grabador @code{Measure_grouping_engraver} está incluido
-en uno de los contextos de presentación, se imprimirán signos de
-agrupación de pulsos. Estos símbolos facilitan la lectura de música
-moderna rítmicamente compleja. En este ejemplo, el compás de 9/8 se
-agrupa según dos patrones distintos utilizando los dos métodos,
-mientras que el compás de 5/8 se agrupa de acuerdo con el ajuste
-predeterminado que está en @file{scm/beam-settings.scm}:
+propiedad de contexto @code{beatStructure}. Hay establecidos valores
+de @code{beatStructure} para muchos tipos de compases en
+@file{scm/time-signature-settings.scm}. Los valores de
+@code{beatStructure} se pueden cambiar o establecer con @code{\\set}.
+Como alternativa, se puede usar la función de Scheme
+@code{set-time-signature} para establecer tanto el compás como la
+estructura de pulsos. @code{set-time-signature} acepta tres
+argumentos: el número de pulsos, la longitud del pulso y la agrupación
+interna de los pulsos en el compás. Tanto @code{\\time} como
+@code{set-time-signature} se aplican al contexto @code{Timing}, por lo
+que no restablecen los valores de @code{beatStructure} ni de
+@code{baseMoment} que se establezcan en otros contextos de nivel
+inferior, como @code{Voice}.
+
+Si el grabador @code{Measure_grouping_engraver} está incluido en uno
+de los contextos de presentación, se imprimirán signos de agrupación
+de pulsos. Estos símbolos facilitan la lectura de música moderna
+rítmicamente compleja. En este ejemplo, el compás de 9/8 se agrupa
+según dos patrones distintos utilizando los dos métodos, mientras que
+el compás de 5/8 se agrupa de acuerdo con el ajuste predeterminado que
+está en @file{scm/time-signature-settings.scm}:
"
doctitlees = "Símbolos de dirección y símbolos de agrupación de compás"
@code{beatStructure}. Values of @code{beatStructure} are
established for many time signatures in
@file{scm/time-signature-settings.scm}. Values of @code{beatStructure}
-can be changed or set with @code{\set}.
+can be changed or set with @code{\\set}.
Alternatively, the
Scheme function @code{set-time-signature} can be used to both
set the time signature and establish the beat structure.
@code{set-time-signature}, takes three arguments: the
number of beats, the beat length, and the internal grouping of beats in
-the measure. @code{\time} and @code{set-time-signature} both apply
+the measure. @code{\\time} and @code{set-time-signature} both apply
to the @code{Timing} context, so they will not reset values of
@code{beatStructure} or @code{baseMoment} that are set in
other lower-level contexts, such as @code{Voice}.
\version "2.13.31"
\header {
- lsrtags = "staff-notation"
+ lsrtags = "rhythms"
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
\version "2.13.31"
\header {
+%% Translation of GIT committish: a5bde6d51a5c88e952d95ae36c61a5efc22ba441
+
+ texidoces = "
+
+Dado que @code{\\repeat tremolo} espera exactamente dos argumentos
+musicales para los trémolos de acorde, la nota o acorde que cambia de
+pentagrama en un trémolo que cruza el pentagrama se debe colocar
+dentro de llaves curvas junto a su instrucción @code{\\change Staff}.
+
+"
+
+ doctitlees = "Trémolos de pentagrama cruzado"
+
lsrtags = "repeats, keyboards"
+
%% Translation of GIT committish: a5bde6d51a5c88e952d95ae36c61a5efc22ba441
texidocfr = "
Dans la mesure où @code{\\repeat tremolo} requiert deux arguments
+% Do not edit this file; it is automatically
+% generated from Documentation/snippets/new
+% This file is in the public domain.
+%% Note: this file works from version 2.13.31
%% Do not edit this file; it is automatically
%% generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+ texidoces = "
+Se pueden establecer las propiedades de los diagramas de
+posiciones de acordes por medio de @code{'fret-diagram-details}.
+Para los diagramas de posiciones de FretBoard, se aplican los
+overrides (sobreescrituras) al objeto @code{FretBoards.FretBoard}.
+Como @code{Voice}, @code{FretBoards} es un contexto del nivel
+inferior, y por tanto se puede omitir su nombre en la
+sobreescritura de propiedades.
+
+"
+ doctitlees = "Personalizar los diagramas de posiciones"
+
+
+%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40
+ texidocde = "
+Eigenschaften von Bunddiagrammen können in
+@code{'fret-diagram-details} verändert werden. Einstellungen mit
+dem @code{\\override}-Befehl werden dem @code{FretBoards.FretBoard}-Objekt
+zugewiesen. Genauso wie @code{Voice} ist auch @code{FretBoards} ein
+Kontext der niedrigsten Ebene, weshalb der Kontext auch in dem Befehl
+weggelassen werden kann.
+
+"
+ doctitlede = "Bunddiagramme anpassen"
+
lsrtags = "fretted-strings, tweaks-and-overrides"
+
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
Se pueden establecer las propiedades de los diagramas de
texidocde = "
Eigenschaften von Bunddiagrammen können in
@code{'fret-diagram-details} verändert werden. Einstellungen mit
-dem @code{\override}-Befehl werden dem @code{FretBoards.FretBoard}-Objekt
+dem @code{\\override}-Befehl werden dem @code{FretBoards.FretBoard}-Objekt
zugewiesen. Genauso wie @code{Voice} ist auch @code{FretBoards} ein
Kontext der niedrigsten Ebene, weshalb der Kontext auch in dem Befehl
weggelassen werden kann.
} % begin verbatim
\include "predefined-guitar-fretboards.ly"
-\storePredefinedDiagram \chordmode { c' }
+\storePredefinedDiagram #default-fret-table \chordmode { c' } % begin verbatim
+
#guitar-tuning
#"x;1-1-(;3-2;3-3;3-4;1-1-);"
<<
texidocfr = "
Les propriétés d'un diagramme de fret sont modifiables grâce au
@code{'fret-diagram-details}. Lorsqu'ils sont générés sous forme
-de @code{\markup}, rien n'empêche de les modifier en jouant sur les
+de @code{\\markup}, rien n'empêche de les modifier en jouant sur les
réglages de l'objet @code{Voice.TextScript} ou bien directement sur
le @qq{markup}.
%% Do not edit this file; it is automatically
%% generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.13.31"
+\version "2.13.36"
\header {
lsrtags = "fretted-strings"
dMajSeven = { <a\4 c\1 d\3 fis\2> }
gMajor = { <b\4 b\1 d\3 g\2> }
-\storePredefinedDiagram \dSix
+\storePredefinedDiagram #default-fret-table \dSix
#cuatroTuning
#"o;o;o;o;"
-\storePredefinedDiagram \dMajor
+\storePredefinedDiagram #default-fret-table \dMajor
#cuatroTuning
#"o;o;o;3-3;"
-\storePredefinedDiagram \aMajSeven
+\storePredefinedDiagram #default-fret-table \aMajSeven
#cuatroTuning
#"o;2-2;1-1;2-3;"
-\storePredefinedDiagram \dMajSeven
+\storePredefinedDiagram #default-fret-table \dMajSeven
#cuatroTuning
#"o;o;o;1-1;"
-\storePredefinedDiagram \gMajor
+\storePredefinedDiagram #default-fret-table \gMajor
#cuatroTuning
#"2-2;o;1-1;o;"
doctitlees = "Objeto personalizado de extensión de texto de matices dinámicos postfijo"
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+
+ texidocde = "Die Nachstellung funktioniert für eigene Crescendo-Textstrecker.
+Die Strecker sollten an der ersten Note eines Taktes beginnen. Man muss
+-\mycresc benutzen, sonst wird der Beginn des Streckers der nächsten Note
+zugewiesen.
+
+"
+ doctitlede = "Eigene Dynamiktextspanner nachgestellt"
+
+
+%% Translation of GIT committish: a06cb0b0d9593ba110e001f2b0f44b8bef084693
+
+ texidocfr = "
+Il s'agit de fonctions postfix pour personnaliser l'extension des
+crescendos textuels. L'extension devrait débuter sur la première notte
+de la mesure. Il faut utiliser @code{-\mycresc} -- comme une
+articulation -- sous peine que le départ de l'extension n'apparaisse
+qu'à la note suivante.
+"
+
+ doctitlefr = "Personnalisation des extenseurs de nuance postfix"
+
+
lsrtags = "expressive-marks, tweaks-and-overrides"
texidoc = "Postfix functions for custom crescendo text spanners. The spanners
should start on the first note of the measure. One has to use -\mycresc,
doctitlees = "Objetos extensores de texto postfijos para dinámica"
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+
+ texidocde = "Die \cresc, \dim und \decresc Strecker können umdefiniert werden,
+um nachgestellt zu funktionieren und einen Textstrecker zu produzieren. Eigene
+Strecker können auch einfach definiert werden. Klammer- und Textcrescendi können
+einfach vermischt werden. \< und \> erstellen normalerweise Klammern, \cresc
+usw. dagegen normalerweise Textspanner.
+
+"
+ doctitlede = "Dynamiktextstrecker nachgestellt"
+
+
+
+%% Translation of GIT committish: a06cb0b0d9593ba110e001f2b0f44b8bef084693
+
+ texidocfr = "
+Les lignes d'extension des commandes \cresc, \dim et \decresc peuvent
+désormais être personnalisées facilement sous forme d'opérateurs
+postfix. Soufflets et (de)crescendos peuvent cohabiter. \< et \>
+produiront par défaut des soufflets, alors que \cresc etc. produiront
+une indication textuelle avec extension.
+
+"
+
+ doctitlefr = "Extensions de nuance postfix"
+
+
lsrtags = "expressive-marks, tweaks-and-overrides"
texidoc = "The \cresc, \dim and \decresc spanners can now be redefined as
postfix operators and produce one text spanner. Defining custom spanners is
\version "2.13.31"
\header {
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidoces = "
+Se pueden conseguir símbolos especiales combinando glifos existentes,
+lo que es de utilidad para la notación de instrumentos de viento.
+
+"
+ doctitlees = "Símbolos de digitación para instrumentos de viento"
+
+
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Des sumboles spécifiques peuvent être obtenus en combinant les glyphes
+disponibles, ce qui est tout à fait indiqué en matière d'instrument à vent.
+
+"
+ doctitlefr = "Symboles de doigtés pour instruments à vent"
+
+
lsrtags = "winds"
texidoc = "
--- /dev/null
+% Do not edit this file; it is automatically
+% generated from Documentation/snippets/new
+% This file is in the public domain.
+%% Note: this file works from version 2.13.36
+\version "2.13.36"
+
+\header {
+ lsrtags = "fretted-strings"
+
+ texidoc = "
+Alternate fretboard tables can be created. These would be used in
+order to have alternate fretboards for a given chord.
+
+In order to use an alternate fretboard table, the table must first
+be created. Fretboards are then added to the table.
+
+The table to be used in displaying predefined fretboards is selected
+by the property @code{\\predefinedDiagramTable}.
+"
+
+ doctitle = "Alternate fretboard tables"
+} % begin verbatim
+
+
+\include "predefined-guitar-fretboards.ly"
+
+#(define custom-fretboard-table-one (make-hash-table 101))
+
+#(define custom-fretboard-table-two (make-hash-table 101))
+
+\storePredefinedDiagram #custom-fretboard-table-one
+ \chordmode{c}
+ #guitar-tuning
+ "3-(;3;5;5;5;3-);"
+
+\storePredefinedDiagram #custom-fretboard-table-two
+ \chordmode{c}
+ #guitar-tuning
+ "x;3;5;5;5;o;"
+
+<<
+ \chords {
+ c1 |
+ c1 |
+ c1
+ }
+ \new FretBoards {
+ \chordmode {
+ \set predefinedDiagramTable = #default-fret-table
+ c1
+ \set predefinedDiagramTable = #custom-fretboard-table-one
+ c1
+ \set predefinedDiagramTable = #custom-fretboard-table-two
+ c1
+ }
+ }
+ \new Staff {
+ \clef "treble_8"
+ \chordmode {
+ c1 |
+ c1 |
+ c1
+ }
+ }
+>>
+
fingerings,-string-indications,-and-right-hand-fingerings.ly
flamenco-notation.ly
fret-diagrams-explained-and-developed.ly
+fretboards-alternate-tables.ly
guitar-slides.ly
guitar-strum-rhythms.ly
how-to-change-fret-diagram-position.ly
} % begin verbatim
#(define-public (weight-flag stem-grob)
- (let* ((log (- (ly:grob-property stem-grob 'duration-log) 2))
- (is-up (eqv? (ly:grob-property stem-grob 'direction) UP))
- (yext (if is-up (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
- (flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
- (stroke-style (ly:grob-property stem-grob 'stroke-style))
- (stroke-stencil (if (equal? stroke-style "grace") (make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4) empty-stencil)))
- (ly:stencil-add flag-stencil stroke-stencil)))
+ (let* ((log (- (ly:grob-property stem-grob 'duration-log) 2))
+ (is-up? (eqv? (ly:grob-property stem-grob 'direction) UP))
+ (yext (if is-up? (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
+ (flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
+ (stroke-style (ly:grob-property stem-grob 'stroke-style))
+ (stroke-stencil (if (equal? stroke-style "grace")
+ (make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4)
+ empty-stencil)))
+ (ly:stencil-add flag-stencil stroke-stencil)))
% Create a flag stencil by looking up the glyph from the font
#(define (inverted-flag stem-grob)
- (let* ((dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
- (flag (retrieve-glyph-flag "" dir "" stem-grob))
- (line-thickness (ly:staff-symbol-line-thickness stem-grob))
- (stem-thickness (ly:grob-property stem-grob 'thickness))
- (stem-width (* line-thickness stem-thickness))
- (stroke-style (ly:grob-property stem-grob 'stroke-style))
- (stencil (if (null? stroke-style) flag
- (add-stroke-glyph flag stem-grob dir stroke-style "")))
- (rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
- (ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))
+ (let* ((dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
+ (flag (retrieve-glyph-flag "" dir "" stem-grob))
+ (line-thickness (ly:staff-symbol-line-thickness stem-grob))
+ (stem-thickness (ly:grob-property stem-grob 'thickness))
+ (stem-width (* line-thickness stem-thickness))
+ (stroke-style (ly:grob-property stem-grob 'stroke-style))
+ (stencil (if (null? stroke-style)
+ flag
+ (add-stroke-glyph flag stem-grob dir stroke-style "")))
+ (rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
+ (ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))
snippetexamplenotes = { \autoBeamOff c'8 d'16 c'32 d'64 \acciaccatura {c'8} d'64 }
\revert Stem #'flag
\snippetexamplenotes
}
+
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.31
-\version "2.13.31"
+\version "2.13.36"
\header {
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidoces = "
+En muchos casos, las llaves que no están en la columna central se
+pueden presentar por el nombre de la llave así como de forma gráfica.
+
+"
+
+ doctitlees = "Diagramas para viento madera gráficos y textuales"
+
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+
+ texidocde="
+In vielen Fällen können die nicht in der mittleren Reihe befindlichen
+Löcher dargestellt werden, indem man die Lochbezeichnung oder
+graphische Zeichen benutzt.
+
+"
+
+ doctitlede = "Graphische und Text-Holzbläserdiagramme"
+
+
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Dans certains cas, vous pouvez opter pour l'affichage textuel d'une clé
+située à côté d'un trou plutôt que sa représentation graphique.
+"
+
+ doctitlefr = "Ajout de texte à un diagramme de doigté"
+
+
lsrtags="winds"
texidoc="
In may cases, the keys other than the central column can be
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.26
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 31097723b2b816696ad61696630a80ff17a39557
+
+ texidoces = "
+Aquí se muestra la manera de ocultar las alteraciones de las notas
+ligadas al comienzo de un sistema nuevo.
+
+"
+
+ doctitlees = "Ocultar las alteraciones sobre notas ligadas al principio de un sistema nuevo"
+
+
+%% Translation of GIT committish: 31097723b2b816696ad61696630a80ff17a39557
+ texidocfr = "Cet exemple illustre comment, lorsqu'une note affublée
+ d'une altération accidentelle est prolongée, ne pas répéter cette
+ altération après un saut de ligne.
+"
+ doctitlefr = "Non répétition de l'altération après saut de ligne
+ sur liaison de prolongation"
+
+
lsrtags = "pitches"
texidoc = "This shows how to hide accidentals on tied notes at the beginning of a
new system."
\version "2.13.31"
\header {
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
+ texidoces = "
+ Este fragmento de código muestra una forma de preparar un himno cuando
+cada línea comienza con un compás parcial. También muestra cómo
+añadir los versos como texto independiente debajo de la música.
+
+"
+
+ doctitlees = "Plantilla para himnos"
+
lsrtags = "vocal-music, template"
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidocde = "
+Dieses Beispiel zeigt eine Möglichkeit, eine Hymnusmelodie zu setzen, in
+der jede Zeiel mit einem Auftakt beginnt und einem unvollständigen
+Takt abschließt. Es zeigt auch, wie man die Strophen als allein stehenden
+Text unter die Noten hinzufügt.
+
+"
+ doctitlede = "Hymnus-Vorlage"
+
+
%% Translation of GIT committish: 26375d5016d8d180fc914bfd07cf76f4168f2e37
texidocfr = "
indent = 0 % don't indent first system
line-width = 130 % shorten line length to suit music
} % End paper block
+
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
-También se pueden imprimir símbolos de porcentaje sueltos. Esto se
-hace introduciendo un silencio multicompás con una función de
-impresión distinta:
+También se pueden imprimir símbolos de porcentaje sueltos.
"
doctitlees = "Símbolos de porcentaje sueltos"
%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40
texidocde = "
Hier ist ein ziemlich kompliziertes Beispiel für ein Jazz-Ensemble. Achtung:
-Alle Instrumente sind in @code{\key c \major} (C-Dur) notiert. Das bezieht sich
+Alle Instrumente sind in @code{\\key c \major} (C-Dur) notiert. Das bezieht sich
auf die klingende Musik: LilyPond transponiert die Tonart automatisch, wenn
-sich die Noten innerhalb eines @code{\transpose}-Abschnitts befinden.
+sich die Noten innerhalb eines @code{\\transpose}-Abschnitts befinden.
"
texidocfr = "
Bien que compliqué de prime abord, voici un canevas tout à fait indiqué
pour les ensembles de jazz. Vous noterez que tous les instruments sont
-notés en ut (@code{\key c \major}), la tonalité de concert. Les notes
+notés en ut (@code{\\key c \major}), la tonalité de concert. Les notes
seront automatiquement transposée dès lors qu'elles seront inscrites
dans une section @code{\\transpose}.
--- /dev/null
+\version "2.13.34"
+
+\header {
+ lsrtags="vocal-music, staff-notation"
+ texidoc="
+ This shows one approach to simplify adding many orchestral cues to
+the piano reduction in a vocal score. The music function
+@code{\cueWhile} takes four arguments: the music from which the cue
+is to be taken, as defined by @code{\addQuote}, the name to be
+inserted before the cue notes, then either @code{#UP} or @code{#DOWN}
+to specify either @code{\voiceOne} with the name above the staff or
+@code{\voiceTwo} with the name below the staff, and finally the piano
+music in parallel with which the cue notes are to appear. The name
+of the cued instrument is positioned to the left of the cued notes.
+Many passages can be cued, but they cannot overlap each other in time.
+"
+ doctitle = "Adding orchestral cues to a vocal score"
+}
+
+cueWhile =
+ #(define-music-function
+ (parser location instrument name dir music)
+ (string? string? ly:dir? ly:music?)
+ #{
+ \cueDuring $instrument #$dir {
+ \once \override CueVoice.InstrumentSwitch #'self-alignment-X = #RIGHT
+ \once \override CueVoice.InstrumentSwitch #'direction = $dir
+ \set CueVoice.instrumentCueName = $name
+ { $music }
+ }
+ #}
+ )
+
+flute = \relative c'' {
+ \transposition c'
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+singer = \relative c'' { c4. g8 g4 bes4 }
+words = \lyricmode { here's the lyr -- ics }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ \cueWhile "clarinet" "Clar." #DOWN { c4. g8 }
+ \cueWhile "flute" "Flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singer" {
+ \singer
+ }
+ }
+ \new Lyrics {
+ \lyricsto "singer"
+ \words
+ }
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
\ No newline at end of file
--- /dev/null
+\version "2.13.36"
+
+\header {
+ lsrtags = "fretted-strings"
+
+ texidoc = "
+Alternate fretboard tables can be created. These would be used in
+order to have alternate fretboards for a given chord.
+
+In order to use an alternate fretboard table, the table must first
+be created. Fretboards are then added to the table.
+
+The table to be used in displaying predefined fretboards is selected
+by the property @code{\predefinedDiagramTable}.
+"
+
+ doctitle = "Alternate fretboard tables"
+}
+
+\include "predefined-guitar-fretboards.ly"
+
+#(define custom-fretboard-table-one (make-hash-table 101))
+
+#(define custom-fretboard-table-two (make-hash-table 101))
+
+\storePredefinedDiagram #custom-fretboard-table-one
+ \chordmode{c}
+ #guitar-tuning
+ "3-(;3;5;5;5;3-);"
+
+\storePredefinedDiagram #custom-fretboard-table-two
+ \chordmode{c}
+ #guitar-tuning
+ "x;3;5;5;5;o;"
+
+<<
+ \chords {
+ c1 |
+ c1 |
+ c1
+ }
+ \new FretBoards {
+ \chordmode {
+ \set predefinedDiagramTable = #default-fret-table
+ c1
+ \set predefinedDiagramTable = #custom-fretboard-table-one
+ c1
+ \set predefinedDiagramTable = #custom-fretboard-table-two
+ c1
+ }
+ }
+ \new Staff {
+ \clef "treble_8"
+ \chordmode {
+ c1 |
+ c1 |
+ c1
+ }
+ }
+>>
+
\version "2.13.31"
\header {
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidoces = "
+
+Puede ser difícil comprender la función de @code{\\autoBeamOff} cuando
+se usa con @code{\\partcombine}.
+
+Puede ser preferible usar
+
+
+@code{\\set Staff.autoBeaming = ##f}
+
+
+en su lugar, para asegurarse de que el barrado automático se desactiva
+para todo el pentagrama.
+
+
+@code{\\partcombine} funciona aparentemente con tres voces: plica
+arriba cuando hay una sola voz, plica abajo con la otra, y plica
+arriba cuando está combinada.
+
+
+Una llamada a @code{\\autoBeamOff} en el primer argumento de
+partcombine se aplica a la voz que está activa en el momento en que se
+procesa la llamada, ya sea voz única con la plica hacia arriba, hacia
+abajo o combinadas. Una llamada a @code{\\autoBeamOff} en el segundo
+argumento se aplica a la voz que está sola con la plica abajo.
+
+
+Para pode usar @code{\\autoBeamOff} con el objeto de detener todo el
+barrado automático cuando se usa con @code{\\partcombine}, es
+necesario hacer tres llamadas a @code{\\autoBeamOff}.
+
+
+
+
+"
+ doctitlees = "Partcombine y autoBeamOff"
+
lsrtags = "rhythms"
+%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidocde = "
+Die Funktionsweise von @code{@bs{}autoBeamOff}, wenn es zusammen mit
+@code{@bs{}partcombine} eingesetzt wird, kann schwer zu verstehen sein.
+Es kann besser sein, anstatt dessen
+
+@example
+\set Staff.autobeaming = ##f
+@end example
+
+@noindent
+zu benutzen, um sicherzustellen, dass die automatische Bebalkung für das
+gesamte System ausgeschaltet ist.
+
+@code{\\partcombine} funktioniert offensichtlich mit 3 Stimme (Hals nach oben
+einfach, Hals nach unten einfach, Hals nach oben kombiniert).
+
+Ein @code{\\autoBeamOff}-Befehl im ersten Argument von @code{\\partcombine}
+gilt für die Stimme, die zu dem Zeitpunkt aktiv ist, an dem der Befehl
+verarbeitet wird, entweder für Hals nach oben, nach unten oder Hals nach
+oben kombiniert. Ein @code{\\autoBeamOff}-Befehl im zweiten Argument gilt
+für die Stimme, die mit Hals nach unten einfach ist.
+
+Um @code{\\autoBeamOff} zu benutzen, damit alle automatischen Balken aufhören,
+wenn man es mit @code{\\partcombine} verwendet, muss @code{\\autoBeamOff}
+@emph{dreimal} aufgerufen werden.
+
+"
+doctitlede = "Partcombine und autoBeamOff"
+
+%% Translation of GIT committish: e1a149d0cc60b02e86209387958f4028567dd366
+ texidocfr = "
+Le fonction @code{@bs{}autoBeamOff} dans le cadre d'un
+@code{@bs{}partcombine} agit de façon bien particulière@tie{}; c'est
+pourquoi il vaut mieux tout d'abord recourir à
+
+@example
+\set Staff.autobeaming = ##f
+@end example
+
+@noindent
+pour désactiver les ligatures automatiques pour l'ensemble de la portée
+concernée.
+
+L'instruction @code{\\partcombine} fonctionne apparament sur la base de
+trois voix@tie{}: solo hampes montantes, solo hampes descendantes et
+ensemble hampes montantes.
+
+Lorsque @code{\\autoBeamOff} apparaît dans le premier argument de la
+combinaison, il s'applique à la voix active à ce moment précis, qu'il
+s'agisse du solo hampes montantes ou du combiné hampes montantes.
+Lorsqu'elle est introduite dans le second argument, la commande
+@code{\\autoBeamOff} s'appliquera au solo hampes descendantes.
+
+Vous devrez donc, afin que @code{\\autoBeamOff} soit pleinement
+opérationnel dans le cadre d'un @code{\\partcombine}, l'introduire aux
+@strong{trois} niveaux.
+
+"
+doctitlefr = "Partcombine et autoBeamOff"
+
+
texidoc = "
The function of @code{\\autoBeamOff} when used with
@code{\\partcombine} can be difficult to understand.
\header {
lsrtags = "repeats"
-%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
texidoces = "
-Las repeticiones de compases completos mayores de dos repeticiones
+Las repeticiones de compases completos de más de dos repeticiones
pueden llevar un contador si se activa la propiedad adecuada, como se
ve en este ejemplo:
"
- doctitlees = "Percent repeat counter"
+ doctitlees = "Contador de repeticiones de tipo porcentaje"
%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40
\times 2/3 { c'16 c'16 c'16 }
\times 2/3 { c'16 c'16 c'16 }
\times 2/3 { c'16 c'16 c'16 }
- \override Score.RehearsalMark #'break-visibility = ##(#t #t #t)
- \override Score.RehearsalMark #'direction = #down
- \override Score.RehearsalMark #'break-align-symbol = #'clef
- \override Score.RehearsalMark #'self-alignment-X = #right
+ \override Score.RehearsalMark #'break-visibility = #'#(#t #t #t)
+ \override Score.RehearsalMark #'direction = #DOWN
+ \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\mark "Composed Feb 2007 - Feb 2008"
}
\new Staff {
- \set tupletFullLength = ##t
-
- \override TupletBracket #'full-length-to-extent = ##f
-
- \time 1/8
- \times 2/3 { c'16 c'16 c'16 }
- \times 2/3 { c'16 c'16 c'16 }
- \times 2/3 { c'16 c'16 c'16 }
- \override Score.RehearsalMark #'break-visibility = ##(#t #t #t)
- \override Score.RehearsalMark #'direction = #down
- \override Score.RehearsalMark #'break-align-symbol = #'clef
- \override Score.RehearsalMark #'self-alignment-X = #right
- \mark "Composed Feb 2007 - Feb 2008"
+ \set tupletFullLength = ##t
+
+ \override TupletBracket #'full-length-to-extent = ##f
+
+ \time 1/8
+ \times 2/3 { c'16 c'16 c'16 }
+ \times 2/3 { c'16 c'16 c'16 }
+ \times 2/3 { c'16 c'16 c'16 }
+ \override Score.RehearsalMark #'break-visibility = #'#(#t #t #t)
+ \override Score.RehearsalMark #'direction = #DOWN
+ \override Score.RehearsalMark #'self-alignment-X = #RIGHT
+ \mark "Composed Feb 2007 - Feb 2008"
}
-
\version "2.13.31"
\header {
+%% Translation of GIT committish: 4ab2514496ac3d88a9f3121a76f890c97cedcf4e
+
+ texidoces = "
+
+Se pueden imprimir marcas al final de la línea actual, en vez de al
+principio de la línea siguiente. En estos casos, puede ser preferible
+alinear el borde derecho de la marca con la línea divisoria.
+
+"
+ doctitlees = "Imprimir marcas al final de una línea"
lsrtags = "text"
+
%% Translation of GIT committish: 4ab2514496ac3d88a9f3121a76f890c97cedcf4e
texidocfr = "
Les indications textuelles peuvent être imprimées à la fin d'une ligne
\version "2.13.31"
\header {
- lsrtags = "rhythms, expressive-marks, staff-notation, tweaks-and-overrides"
+ lsrtags = "rhythms, expressive-marks, tweaks-and-overrides"
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
avec la propriété @code{quotedEventTypes}. Par défaut, sa valeur est
fixée à @code{(note-event rest-event tie-event beam-event
tuplet-span-event)}, ce qui signifie que seuls les notes, silences,
-liaisons, ligatures et nolets seront mentionnés par @code{\quoteDuring}.
+liaisons, ligatures et nolets seront mentionnés par @code{\\quoteDuring}.
Dans l'exemple suivant, le quart de soupir n'est pas reproduit puisqu'il
n'est pas mentionné parmi les @code{quotedEventTypes}.
\version "2.13.31"
\header {
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Cet exemple illustre la manière de créer et afficher des indications de
+doigté pour instrument à vent.
+
+"
+ doctitlefr = "Doigtés pour flûte à bec"
+
+
lsrtags = "winds"
texidoc = "
\header {
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
-Para tipografiar las barras agrupadas en la forma @code{3-4-3-2}
-en 12/8, en primer lugar tenemos que sobreescribir los finales de
-barra predeterminados en 12/8, y después preparar los finales de
-barra nuevos:
+Para tipografiar las barras agrupadas en la forma @code{3-4-3-2} sólo
+es necesario modificar la estructura de pulsos:
"
doctitlees = "Alteración de los finales de barra predeterminados"
changing-beam-knee-gap.ly
changing-form-of-multi-measure-rests.ly
changing-the-number-of-augmentation-dots-per-note.ly
+changing-the-tempo-without-a-metronome-mark.ly
changing-the-time-signature-without-affecting-the-beaming.ly
changing-the-tuplet-number.ly
changing-time-signatures-inside-a-polymetric-section-using--scaledurations.ly
compound-time-signatures.ly
conducting-signs,-measure-grouping-signs.ly
controlling-tuplet-bracket-visibility.ly
+creating-metronome-marks-in-markup-mode.ly
engraving-ties-manually.ly
engraving-tremolos-with-floating-beams.ly
entering-several-tuplets-using-only-one--times-command.ly
\version "2.13.31"
\header {
+%% Translation of GIT committish: 092f85605dcea69efff5ef31de4ff100346d6ef8
+
+ texidocfr = "
+Modèle pour chœur à quatre voix mixtes, chaque pupitre ayant sa propre
+portée.
+
+"
+ doctitlefr = "Modèle pour chœur SATB sur quatre portées"
+
+
lsrtags = "vocal-music, template"
texidoc = "
\version "2.13.31"
\header {
- lsrtags = "tweaks-and-overrides, paper-and-layout"
+ lsrtags = "staff-notation, tweaks-and-overrides, paper-and-layout"
%% Translation of GIT committish: 0b55335aeca1de539bf1125b717e0c21bb6fa31b
texidoces = "
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.26
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 158658dc75b6f6553e77ff53119ac802eb91f50c
+
+ texidoces = "
+
+Existen tres estilos distintos de repeticiones dobles para la primera
+y segunda vez, que se pueden ajustar utilizando
+@code{doubleRepeatType}.
+
+"
+
+ doctitlees = "Establecer el tipo de repetición doble predeterminado para la primera y segunda vez"
+
%% Translation of GIT committish: 158658dc75b6f6553e77ff53119ac802eb91f50c
texidocfr = "LilyPond dispose de trois styles de barre différents
pour indiquer une succession de reprises. Vous devez opter pour un
Das nächste Beispiel zeigt eine einfache Melodie mit Text. Kopieren
Sie es in Ihre Datei, fügen Sie Noten und Text hinzu und übersetzen
Sie es mit LilyPond. In dem Beispiel wird die automatische
-Balkenverbindung ausgeschaltet (mit dem Befehl @code{\autoBeamOff}),
+Balkenverbindung ausgeschaltet (mit dem Befehl @code{\\autoBeamOff}),
wie es für Vokalmusik üblich ist.
Wenn Sie die Balken wieder einschalten wollen, müssen Sie die
entsprechende Zeile entweder ändern oder auskommentieren.
adding-an-extra-staff-at-a-line-break.ly
adding-an-extra-staff.ly
adding-indicators-to-staves-which-get-split-after-a-break.ly
+adding-orchestral-cues-to-a-vocal-score.ly
changing-the-number-of-lines-in-a-staff.ly
changing-the-staff-size.ly
-changing-the-tempo-without-a-metronome-mark.ly
creating-blank-staves.ly
-creating-metronome-marks-in-markup-mode.ly
display-bracket-with-only-one-staff-in-a-system.ly
forcing-measure-width-to-adapt-to-metronomemarks-width.ly
incipit.ly
modern-tab-text-clef.ly
nesting-staves.ly
non-traditional-key-signatures.ly
-printing-metronome-and-rehearsal-marks-below-the-staff.ly
quoting-another-voice-with-transposition.ly
quoting-another-voice.ly
removing-the-first-empty-line.ly
+setting-system-separators.ly
tick-bar-lines.ly
time-signature-in-parentheses.ly
tweaking-clef-properties.ly
%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40
texidocde = "
Dieses Beispiel demonstriert die Partitur für ein Streichquartett. Hier
-wird auch eine @qq{@code{\global}}-Variable für Taktart und
+wird auch eine @qq{@code{\\global}}-Variable für Taktart und
Vorzeichen benutzt.
"
enthält die Noten. Die anderen Dateien -- @code{score.ly},
@code{vn1.ly}, @code{vn2.ly}, @code{vla.ly} und
@code{vlc.ly} -- erstellen daraus die entsprechenden Stimmen bzw. die
-Partitur (@code{score.ly}). Mit @code{\tag} wird den Stimmen ein Name
+Partitur (@code{score.ly}). Mit @code{\\tag} wird den Stimmen ein Name
zugewiesen, auf den zurückgegriffen werden kann.
"
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.29
-\version "2.13.31"
+\version "2.13.36"
\header {
+%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
+
+ texidoces = "
+
+Las barras de semicorchea, o de figuras más breves, no se subdividen
+de forma predeterminada. Esto es, las tres (o más) barras se amplían
+sin romperse sobre grupos completos de notas. Este comportamiento se
+puede modificar para subdividir las barras en subgrupos mediante el
+establecimiento de la propiedad @code{subdivideBeams}. Cuando está
+activada, las barras se subdividen a intervalos definidos por el valor
+actual de @code{baseMoment} mediante la reducción de las barras
+repetidas a una sola entre los subgrupos. Observe que el valor
+predeterminado de @code{baseMoment} es uno más que el denominador del
+tipo de compás actual, si no se fija explícitamente. Se debe ajustar
+a una fracción que da la duración del subgrupo de barras utilizando la
+función @code{ly:make-moment}, como se ve en este fragmento de código.
+Asimismo, cuando se modifica @code{baseMoment}, se debería cambiar
+también @code{beatStructure} para que corresponda al @code{baseMoment}
+nuevo:
+
+"
+ doctitlees = "Subdivisión de barras"
+
%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
texidocfr = "
Les ligatures d'une succession de notes de durée inférieure à la croche
\version "2.13.31"
\header {
+%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
+ texidoces = "
+
+A veces, la indicación de compás no debe imprimir la fracción completa
+(p.ej. 7/4), sino sólo el numerador (7 en este caso). Esto se puede
+hacer fácilmente utilizando @code{\\override Staff.TimeSignature
+#'style = #'single-digit} para cambiar el estilo
+permanentemente. Usando @code{\\revert Staff.TimeSignature #'style},
+se puede revertir el cambio. Para aplicar el estilo de un dígito
+único a una sola indicación de compás, utilice la instrucción
+@code{\\override} y anteponga la instrucción @code{\\once}.
+
+"
+ doctitlees = "Indicación de compás imprimiendo sólo el numerador (en lugar de la fracción)"
+
lsrtags = "rhythms, tweaks-and-overrides"
+
%% Translation of GIT committish: 190a067275167c6dc9dd0afef683d14d392b7033
texidocfr = "
changing-properties-for-individual-grobs.ly
changing-the-default-text-font-family.ly
changing-the-staff-size.ly
+changing-the-tempo-without-a-metronome-mark.ly
changing-the-text-for-sustain-markings.ly
controlling-spanner-visibility-after-a-line-break.ly
controlling-the-vertical-ordering-of-scripts.ly
\version "2.13.31"
\header {
+%% Translation of GIT committish: 5160eccb26cee0bfd802d844233e4a8d795a1e94
+ texidoces = "
+El corchete de arpegios @code{arpeggioBracket} se puede usar para
+indicar la división de voces cuando no hay plicas que puedan ofrecer
+esta información. Se suele encontrar en la música coral.
+
+"
+
+ doctitlees = "Uso de arpeggioBracket para hacer más visible un divisi"
+
+
lsrtags = "expressive-marks, vocal-music"
texidoc = "
texidoces = "
Esta plantilla crea una partitura que comienza con una estrofa para
solista y continúa con un estribillo a dos voces. también muestra el
-uso de silencios de separación dentro de la variable @code{\global}
+uso de silencios de separación dentro de la variable @code{\\global}
para definir cambios de compás (y otros elementos que son comunes a
todas las partes) a lo largo de toda la partitura.
texidocde = "
Diese Vorlage erstellt eine Partitur, die mit Sologesang beginnt und einen
Refrain für zwei Stimmen enthält. Sie zeigt auch die Benutzung von
-Platzhalter-Pausen innerhalb der @code{\global}-Variable, um Taktwechsel
+Platzhalter-Pausen innerhalb der @code{\\global}-Variable, um Taktwechsel
(und andere Elemente, die für alle Stimmen gleich sind) für das gesamte
Stück zu definieren.
texidocfr = "
Ce canevas illustre la manière d'agencer une œuvre vocale où le couplet
est chanté en solo et le refrain à deux voix. Vous noterez le recours
-aux silences invisibles dans la variable @code{\global}@tie{}; ils
+aux silences invisibles dans la variable @code{\\global}@tie{}; ils
permettent de positionner les changements de métrique et autres éléments
communs à toutes les parties et pour l'intégralité du morceau.
"
texidoc = "
This template creates a score which starts with a solo verse and
continues into a refrain for two voices. It also demonstrates the
-use of spacer rests within the @code{\global} variable to define
+use of spacer rests within the @code{\\global} variable to define
meter changes (and other elements common to all parts) throughout
the entire score.
"
adding-ambitus-per-voice.ly
adding-indicators-to-staves-which-get-split-after-a-break.ly
+adding-orchestral-cues-to-a-vocal-score.ly
adjusting-lyrics-vertical-spacing.ly
ambitus-with-multiple-voices.ly
ambitus.ly
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.24
-\version "2.13.31"
+\version "2.13.36"
\header {
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidoces = "
+
+El fragmento de código que aparece a continuación produce una lista de
+todas las llaves y disposiciones de llave posibles para los diagramas
+de posiciones de instrumentos de viento madera, tal y como están
+definidos en @file{scm/define-woodwind-diagrams.scm}. La lista se
+presenta en la consola y en el archivo de registro de salida, pero no
+en la salida de música.
+
+"
+
+ doctitlees = "Listas de llaves para los diagramas de viento madera"
+
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+ texidocde="
+Dieses Schnipsel erzeugt eine Liste aller möglichen Löcher und Locheinstellungen
+für Holzbläserdiagramme, wie sie in der Datei
+@file{scm/define-woodwind-diagrams.scm} definiert sind. Die Liste wird auf
+der Kommandozeile und in der Log-Datei angezeigt, nicht in den Noten.
+"
+ doctitlede = "Liste der Löcher für Holzbläserdiagramme"
+
+
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Le code suivant vous permettra d'obtenir une liste de toutes les
+possibilités en matière de doigtés pour bois, tels qu'ils sont définis
+dans le fichier @code{scm/define-woodwind-diagrams.scm}. Cette liste
+sera produite en console et dans le fichier de journalisation, mais pas
+sous forme de musique.
+"
+ doctitlefr = "Liste des différents diagrammes de doigtés pour bois"
+
lsrtags = "winds"
texidoc="
% generated from Documentation/snippets/new
% This file is in the public domain.
%% Note: this file works from version 2.13.31
-\version "2.13.31"
+\version "2.13.36"
\header {
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+ texidoces = "
+El fragmento de música que aparece a continuación presenta todos los
+diagramas de viento madera que se encuentran definidos en LilyPond por
+el momento.
+
+"
+ doctitlees = "Listado de los diagramas para viento madera"
+
+%%% Translation of GIT committish: ab9e3136d78bfaf15cc6d77ed1975d252c3fe506
+
+
+ texidocde="
+Folgende Noten zeige alle Holzbläserdiagramme, die für LilyPond
+definiert sind.
+
+"
+ doctitlede = "Liste der Holzbläserdiagramme"
+
+
+%% Translation of GIT committish: 496c48f1f2e4d345ae3637b2c38ec748a55cda1d
+ texidocfr = "
+Voici la liste des différents instruments à vent de la section des bois
+dont les doigtés sont disponibles à ce jour.
+"
+ doctitlefr = "Liste des diagrammes de doigtés pour bois"
+
+
lsrtags="winds"
texidoc="
The following music shows all of the woodwind diagrams currently
@end html
@end ifhtml
-@emph{Last updated Mon May 31 11:22:22 UTC 2010
+@emph{Last updated Mon Oct 4 08:26:17 UTC 2010
}
@multitable @columnfractions 0.5 0.5
@item
Section titles
@*
-(681)
+(937)
+@tab Francisco Vila
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">up to date</span>
+@end html
+@end ifhtml
+@ifnothtml
+up to date
+@end ifnothtml
+@item
+LilyPond --- \TITLE\
+@*
+(1107)
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #39ff22">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #dbff38">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #33ff21">partially up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #76fe2a">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #33ff21">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
1 Scheme tutorial
@*
-(5006)
+(5007)
@tab Till Paala
@*
@item
2 Interfaces for programmers
@*
-(3547)
+(3568)
@tab Till Paala
@*
Section titles
@*
(124)
-@tab Till Rettig
+@tab Till Paala
@*
@ifhtml
@ifhtml
@html
-<span style="background-color: #33ff21">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #d587ff"></span>
@end html
@end ifhtml
@ifnothtml
-up to date
+
@end ifnothtml
@tab Harmath Dénes
@*
@ifhtml
@html
-<span style="background-color: #68ff28">partially up to date</span>
+<span style="background-color: #83fe2c">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
LilyPond --- \TITLE\
@*
(1107)
-@tab Till Rettig
+@tab Till Paala
@*
@ifhtml
@ifhtml
@html
-<span style="background-color: #2cff20">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1 Tutorial
@*
-(2504)
+(2535)
@tab Till Paala
@*
Reinhold Kainhofer
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (80 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (80 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #e8fe39">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
2 Common notation
@*
-(4191)
-@tab Till Rettig
+(4182)
+@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (94 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (94 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #68ff28">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #5bff27">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Harmath Dénes
@*
@ifhtml
@html
-<span style="background-color: #6fff29">partially up to date</span>
+<span style="background-color: #7dff2b">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
3 Fundamental concepts
@*
-(10838)
+(11173)
@tab Till Paala
@*
Reinhold Kainhofer
@ifhtml
@html
-<span style="background-color: #6fff29">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-not translated
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #6fff29">partially up to date</span>
+<span style="background-color: #76fe2a">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #a5ff31">partially up to date</span>
+<span style="background-color: #acff31">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #a5ff31">partially up to date</span>
+<span style="background-color: #b2fe32">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
4 Tweaking output
@*
-(15621)
-@tab Till Rettig
+(15650)
+@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (98 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (98 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #62ff28">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #68ff28">partially up to date</span>
+<span style="background-color: #7dff2b">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
A Templates
@*
-(209)
+(225)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #25fe1f">partially up to date</span>
+<span style="background-color: #2cff20">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #acff31">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Harmath Dénes
@*
@ifhtml
@html
-<span style="background-color: #33ff21">partially up to date</span>
+<span style="background-color: #47ff24">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #b9ff33">partially up to date</span>
+<span style="background-color: #c7ff35">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
B GNU Free Documentation License
@*
(3724)
-@tab Till Rettig
+@tab Till Paala
@*
@ifhtml
@ifhtml
@html
-<span style="background-color: #54ff26">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #e8fe39">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
1.1 Pitches
@*
-(3518)
+(3534)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #62ff28">partially up to date</span>
+<span style="background-color: #2cff20">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1.2 Rhythms
@*
-(4992)
+(5117)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #9eff30">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #54ff26">partially up to date</span>
+<span style="background-color: #2cff20">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1.3 Expressive marks
@*
-(1481)
+(1689)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #40fe23">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
1.4 Repeats
@*
-(774)
+(893)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #76fe2a">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #76fe2a">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1.5 Simultaneous notes
@*
-(1639)
+(1948)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #40fe23">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #40fe23">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1.6 Staff notation
@*
-(1855)
+(2010)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #39ff22">partially up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
1.8 Text
@*
-(2755)
+(2707)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #fcff3c">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #25fe1f">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
2 Specialist notation
@ifhtml
@html
-<span style="background-color: #fff53e">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
2.1 Vocal music
@*
-(2805)
+(4991)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #39ff22">partially up to date</span>
+<span style="background-color: #fff53e">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #2cff20">partially up to date</span>
+<span style="background-color: #ffd743">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #25fe1f">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
2.3 Unfretted string instruments
@*
-(255)
+(281)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #76fe2a">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #25fe1f">partially up to date</span>
+<span style="background-color: #47ff24">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
2.4 Fretted string instruments
@*
-(2233)
+(2242)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #76fe2a">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
2.5 Percussion
@ifhtml
@html
-<span style="background-color: #47ff24">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
2.6 Wind instruments
@*
-(136)
+(348)
@tab Till Paala
@*
@end ifnothtml
@tab Valentin Villenave
@*
+Jean-Charles Malahieuse
+@*
@ifhtml
@ifhtml
@html
-<span style="background-color: #39ff22">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
2.7 Chord notation
@*
-(1521)
+(1854)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (58 %)</span>
+<span style="background-color: #dfef77">partially translated (48 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (58 %)
+partially translated (48 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #ff6f57">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
2.8 Contemporary music
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-not translated
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #d587ff"></span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifnothtml
up to date
@end ifnothtml
-@tab John Mandereau
-@*
-Jean-Charles Malahieude
+@tab Jean-Charles Malahieude
@*
@ifhtml
@ifhtml
@html
-<span style="background-color: #ff6d58">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
2.10 World music
@*
-(1429)
+(1428)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (89 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (89 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #6fff29">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@item
3 General input and output
@*
-(6416)
+(6856)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #40fe23">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (14 %)</span>
+<span style="background-color: #dfef77">partially translated (3 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (14 %)
+partially translated (3 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #ff6959">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
4 Spacing issues
@*
-(9258)
+(9277)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #91ff2e">partially up to date</span>
+<span style="background-color: #47ff24">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #ff645a">partially up to date</span>
+<span style="background-color: #47ff24">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
5 Changing defaults
@*
-(11815)
+(11836)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (97 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (97 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #d587ff"></span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (98 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (98 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #9eff30">partially up to date</span>
+<span style="background-color: #25fe1f">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (4 %)</span>
+<span style="background-color: #dfef77">partially translated (85 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (4 %)
+partially translated (85 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #9eff30">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@item
B Cheat sheet
@ifhtml
@html
-<span style="background-color: #ff6f57">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #2cff20">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
1 Running @command{lilypond}
@*
-(3373)
+(3629)
@tab Reinhold Kainhofer
@*
Till Paala
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (66 %)</span>
+<small>Till Paala</small>
@end html
@end ifhtml
@ifnothtml
-partially translated (66 %)
+Till Paala
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #ff6b58">partially up to date</span>
+<small></small>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+
+@end ifnothtml
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">up to date</span>
+@end html
+@end ifhtml
+@ifnothtml
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (23 %)</span>
+<span style="background-color: #dfef77">partially translated (97 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (23 %)
+partially translated (97 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (98 %)</span>
+<span style="background-color: #dfef77">partially translated (96 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (98 %)
+partially translated (96 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #68ff28">partially up to date</span>
+<span style="background-color: #8aff2d">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (66 %)</span>
+<span style="background-color: #dfef77">partially translated (65 %)</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (66 %)
+partially translated (65 %)
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #ffef3f">partially up to date</span>
+<span style="background-color: #ffe541">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-not translated
+translated
@end ifnothtml
@*
@item
3 Running @command{lilypond-book}
@*
-(3439)
+(3747)
@tab Reinhold Kainhofer
@*
@ifhtml
@html
-<span style="background-color: #ff6b58">partially up to date</span>
+<span style="background-color: #39ff22">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifnothtml
up to date
@end ifnothtml
-@tab John Mandereau
+@tab Jean-Charles Malahieude
@*
-Jean-Charles Malahieude
+
+@ifhtml
+
+@html
+<small></small>
+@end html
+@end ifhtml
+@ifnothtml
+
+@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<small></small>
@end html
@end ifhtml
@ifnothtml
-not translated
+
+@end ifnothtml
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #83fe2c">partially up to date</span>
+<span style="background-color: #39ff22">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #62ff28">partially up to date</span>
+<span style="background-color: #83fe2c">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
4 External programs
@*
-(2229)
+(2176)
@tab Till Paala
@*
+Reinhold Kainhofer
+@*
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-not translated
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #d0f0f8">not translated</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-not translated
+translated
@end ifnothtml
@*
@end multitable
-@multitable @columnfractions 0.142857142857 0.142857142857 0.142857142857 0.142857142857 0.142857142857 0.142857142857 0.142857142857
+@multitable @columnfractions 0.125 0.125 0.125 0.125 0.125 0.125 0.125 0.125
@headitem
LilyPond -- Music notation for everyone
@tab es
@tab fr
@tab hu
+@tab it
@tab ja
@tab nl
@item
Section titles
@*
-(510)
+(579)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #83fe2c">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@tab Dénes Harmath
@*
@ifhtml
@html
-<span style="background-color: #f6fe3b">partially up to date</span>
+<span style="background-color: #ffe541">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d587ff"></span>
+@end html
+@end ifhtml
+@ifnothtml
+
@end ifnothtml
@tab Yoshiki Sawada
@*
@ifhtml
@html
-<span style="background-color: #ff6d58">partially up to date</span>
+<span style="background-color: #ff6f57">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #a5ff31">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
LilyPond --- \TITLE\
@ifhtml
@html
-<span style="background-color: #2cff20">partially up to date</span>
+<span style="background-color: #33ff21">partially up to date</span>
+@end html
+@end ifhtml
+@ifnothtml
+partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #ff6b58">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
Introduction
@*
-(4289)
+(4498)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #d4ff37">partially up to date</span>
+<span style="background-color: #39ff22">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@ifhtml
@html
-<span style="background-color: #68ff28">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Dénes Harmath
@*
@ifhtml
@html
-<span style="background-color: #fffa3d">partially up to date</span>
+<span style="background-color: #4efe25">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d587ff"></span>
+@end html
+@end ifhtml
+@ifnothtml
+
@end ifnothtml
@tab Yoshiki Sawada
@*
@ifhtml
@html
-<span style="background-color: #40fe23">partially up to date</span>
+<span style="background-color: #4efe25">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
@item
Download
@*
-(1173)
+(1169)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #40fe23">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #97ff2f">partially up to date</span>
+<span style="background-color: #b9ff33">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d587ff"></span>
+@end html
+@end ifhtml
+@ifnothtml
+
@end ifnothtml
@tab Yoshiki Sawada
@*
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #4efe25">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
Manuals
@*
-(1198)
+(1200)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #4efe25">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #dfef77">partially translated (97 %)</span>
+<span style="background-color: #1fff1f">translated</span>
@end html
@end ifhtml
@ifnothtml
-partially translated (97 %)
+translated
@end ifnothtml
@*
@ifhtml
@html
-<span style="background-color: #ffd743">partially up to date</span>
+<span style="background-color: #ffd244">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d587ff"></span>
+@end html
+@end ifhtml
+@ifnothtml
+
@end ifnothtml
@tab Yoshiki Sawada
@*
@ifhtml
@html
-<span style="background-color: #1fff1f">up to date</span>
+<span style="background-color: #5bff27">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
-up to date
+partially up to date
@end ifnothtml
@item
A GNU Free Documentation License
@ifhtml
+@html
+<span style="background-color: #1fff1f">up to date</span>
+@end html
+@end ifhtml
+@ifnothtml
+up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d0f0f8">not translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+not translated
+@end ifnothtml
+@*
+
+@ifhtml
+
@html
<span style="background-color: #1fff1f">up to date</span>
@end html
@item
Community
@*
-(1670)
+(1679)
@tab Till Paala
@*
@ifhtml
@html
-<span style="background-color: #acff31">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Francisco Vila
@*
@ifhtml
@html
-<span style="background-color: #5bff27">partially up to date</span>
+<span style="background-color: #1fff1f">up to date</span>
@end html
@end ifhtml
@ifnothtml
-partially up to date
+up to date
@end ifnothtml
@tab Dénes Harmath
@*
@ifhtml
@html
-<span style="background-color: #fff73e">partially up to date</span>
+<span style="background-color: #ffdf42">partially up to date</span>
@end html
@end ifhtml
@ifnothtml
partially up to date
+@end ifnothtml
+@tab Federico Bruni
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #1fff1f">translated</span>
+@end html
+@end ifhtml
+@ifnothtml
+translated
+@end ifnothtml
+@*
+
+@ifhtml
+
+@html
+<span style="background-color: #d587ff"></span>
+@end html
+@end ifhtml
+@ifnothtml
+
@end ifnothtml
@tab Yoshiki Sawada
@*
* Invoking lilypond-book::
* Filename extensions::
* lilypond-book templates::
+* Sharing the table of contents::
* Alternate methods of mixing text and music::
@end menu
@end verbatim
+@node Sharing the table of contents
+@section Sharing the table of contents
+
+These functions already exist in the OrchestralLily package:
+
+@example
+@url{http://repo.or.cz/w/orchestrallily.git}
+@end example
+
+For greater flexibility in text handling, some users prefer to
+export the table of contents from lilypond and read it into
+@LaTeX{}.
+
+@subsubheading Exporting the ToC from LilyPond
+
+This assumes that your score has multiple movements in the same lilypond
+output file.
+
+@smallexample
+#(define (oly:create-toc-file layout pages)
+ (let* ((label-table (ly:output-def-lookup layout 'label-page-table)))
+ (if (not (null? label-table))
+ (let* ((format-line (lambda (toc-item)
+ (let* ((label (car toc-item))
+ (text (caddr toc-item))
+ (label-page (and (list? label-table)
+ (assoc label label-table)))
+ (page (and label-page (cdr label-page))))
+ (format #f "~a, section, 1, @{~a@}, ~a" page text label))))
+ (formatted-toc-items (map format-line (toc-items)))
+ (whole-string (string-join formatted-toc-items ",\n"))
+ (output-name (ly:parser-output-name parser))
+ (outfilename (format "~a.toc" output-name))
+ (outfile (open-output-file outfilename)))
+ (if (output-port? outfile)
+ (display whole-string outfile)
+ (ly:warning (_ "Unable to open output file ~a for the TOC information") outfilename))
+ (close-output-port outfile)))))
+
+\paper @{
+ #(define (page-post-process layout pages) (oly:create-toc-file layout pages))
+@}
+@end smallexample
+
+@subsubheading Importing the ToC into LaTeX
+
+In LaTeX, the header should include:
+
+@c no, this doesn't require the smallexample, but since the other
+@c two blocks on this page use it, I figured I might as well
+@c user it here as well, for consistency. -gp
+@smallexample
+\usepackage@{pdfpages@}
+\includescore@{nameofthescore@}
+@end smallexample
+
+@noindent
+where @code{\includescore} is defined as:
+
+@smallexample
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% \includescore@{PossibleExtension@}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+% Read in the TOC entries for a PDF file from the corresponding .toc file.
+% This requires some heave latex tweaking, since reading in things from a file
+% and inserting it into the arguments of a macro is not (easily) possible
+
+% Solution by Patrick Fimml on #latex on April 18, 2009:
+% \readfile@{filename@}@{\variable@}
+% reads in the contents of the file into \variable (undefined if file
+% doesn't exist)
+\newread\readfile@@f
+\def\readfile@@line#1@{%
+@{\catcode`\^^M=10\global\read\readfile@@f to \readfile@@tmp@}%
+\edef\do@{\noexpand\g@@addto@@macro@{\noexpand#1@}@{\readfile@@tmp@}@}\do%
+\ifeof\readfile@@f\else%
+\readfile@@line@{#1@}%
+\fi%
+@}
+\def\readfile#1#2@{%
+\openin\readfile@@f=#1 %
+\ifeof\readfile@@f%
+\typeout@{No TOC file #1 available!@}%
+\else%
+\gdef#2@{@}%
+\readfile@@line@{#2@}%
+\fi
+\closein\readfile@@f%
+@}%
+
+
+\newcommand@{\includescore@}[1]@{
+\def\oly@@fname@{\oly@@basename\@@ifmtarg@{#1@}@{@}@{_#1@}@}
+\let\oly@@addtotoc\undefined
+\readfile@{\oly@@xxxxxxxxx@}@{\oly@@addtotoc@}
+\ifx\oly@@addtotoc\undefined
+\includepdf[pages=-]@{\oly@@fname@}
+\else
+\edef\includeit@{\noexpand\includepdf[pages=-,addtotoc=@{\oly@@addtotoc@}]
+@{\oly@@fname@}@}\includeit
+\fi
+@}
+@end smallexample
+
+
@node Alternate methods of mixing text and music
@section Alternative methods of mixing text and music
@end macro
+@ifhtml
+@macro contactUsAbout{topic}
+
+@divClass{heading-center}
+@divClass{contactBox}
+If you are aware of any other \topic\ which could be listed here,
+please let us know by following the instructions on
+@ref{Bug reports}.
+
+@divEnd
+@divEnd
+
+@end macro
+@end ifhtml
+
+@ifnothtml
+@macro contactUsAbout{topic}
+@cartouche
+If you are aware of any other \topic\ which could be listed here,
+please let us know by following the instructions on
+@ref{Bug reports}.
+
+@end cartouche
+
+@end macro
+@end ifnothtml
+
@include web/introduction.itexi
@include web/download.itexi
@include web/manuals.itexi
@end ifset
+@c we normally don't allow named references, but in this case
+@c it's good to emphasize the "stable" part. -gp
@warning{These are @emph{unstable development} versions. If you
have the slightest doubt about how to use or install LilyPond, we
-urge you to use the stable @ref{Download}, and read the stable
-@ref{Manuals}.}
+urge you to use the @ref{Download, stable Download}, and read the
+@ref{Manuals, stable Manuals}.}
@divEnd
@divEnd
@divEnd
-
@divClass{column-center-bottom}
@subheading What people did with LilyPond
@divEnd
@divEnd
+@contactUsAbout{academic papers}
+
@node Old news
@unnumberedsec Old news
@divEnd
+@contactUsAbout{concerts or sheet music}
@divClass{column-center-bottom}
@subheading Where now?
@divEnd
+@contactUsAbout{news articles or testimonals}
+
@divClass{column-center-bottom}
@subheading Where now?
@divEnd
@divClass{column-center-top}
-@subheading Other programs can export LilyPond code
+@subheading Programs that can export LilyPond code
@subsubheading Score, tab and MIDI editors:
@item
@uref{http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/nted.xhtml,NtEd},
-is based on the @uref{http://cairographics.org, Cairo} library and
-has experimental export for LilyPond.
+a score editor based on the
+@uref{http://www.cairographics.org,Cairo} library, has
+experimental support for exporting to LilyPond.
@item
@uref{http://www.tuxguitar.com.ar/,TuxGuitar}, a multitrack
-tablature editor and player, provides a score view as well as tab,
-and can export to LilyPond.
+tablature editor and player, includes a score viewer and can
+export to LilyPond.
+
+@item
+@uref{http://www.musescore.org,MuseScore}, a score editor, has
+incomplete LilyPond export but is being actively developed.
@item
-@uref{http://musescore.org,MuseScore} has incomplete LilyPond
-export but is being actively developed.
+@uref{http://www.canorus.org,Canorus}, a score editor, can also
+export to LilyPond, but is still beta-software. Testers are
+welcome, though.
@item
-@uref{http://canorus.org,Canorus} can also export to LilyPond, but
-is still beta-software. Testers are welcome, though.
+@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor}, a
+realtime monophonic MIDI to LilyPond converter.
@item
-@uref{http://www.volny.cz/smilauer/rumor/rumor.html,Rumor}, a realtime
-monophonic MIDI to LilyPond converter.
+@uref{http://www.holmessoft.co.uk/homepage/software/NWC2LY/index.htm,
+NW2LY} is a C# program which converts a
+@uref{http://www.noteworthysoftware.com/, NoteWorthy} song into
+LilyPond.
@end itemize
@itemize
@item
-@uref{http://strasheela.sourceforge.net, Strasheela} is @qq{a
-highly expressive constraint-based music composition system}.
+@uref{http://www.projectabjad.org/,Abjad}, a
+@uref{http://www.python.org/,Python} API for Formalized Score
+Control designed to help composers build up complex pieces of
+LilyPond notation in an iterative and incremental way.
@item
@uref{http://common-lisp.net/project/fomus/,FOMUS}, a LISP library
-to generate music notation from computer music software environments.
+to generate music notation from computer music software
+environments.
+
+@item
+@uref{http://strasheela.sourceforge.net,Strasheela}, an
+environment built on top of the
+@uref{http://www.mozart-oz.org/, Mozart/Oz} constraint programming
+language.
@end itemize
@divEnd
@c used for news about the upcoming release; see CG 10.2
+
@newsItem
-@subsubheading LilyPond 2.13.33 released! @emph{Sep 10, 2010}
+@subsubheading The LilyPond Report #21. @emph{Oct 3, 2010}
-We are happy to announce the release of LilyPond 2.13.33. This
-release contains the usual number of bugfixes. However, a number
-of critical issues still remain, so this release is intended for
-developers only.
+The @emph{LilyPond Report} is back, with its two
+@qq{grumpy-and-fluffy} editors! This issue mainly deals with
+microtonal notation in LilyPond, but does also include a how-to
+about running LilyPond from an USB key, not to forget the regular
+release news, the bug report of the Report, and some news from
+the frog pond!
+
+Come
+@uref{http://news.lilynet.net/The-LilyPond-Report-21, read
+LilyPond Report 21} now; comments and contributions are
+warmly encouraged!
@newsEnd
@newsItem
-@subsubheading LilyPond 2.13.32 released! @emph{Sep 3, 2010}
+@subsubheading Alpha test two of 2.14 -- LilyPond 2.13.35 released! @emph{Sep 29, 2010}
+
+LilyPond 2.13.35 is out; this is the second alpha test of the
+upcoming 2.14 stable release. Users are invited to experiment
+with this version. New features since 2.12.3 are listed in the
+@qq{Changes} manual on the website section about
+@ref{Development}.
+
+Three known regressions against 2.12.3 still exist:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1173,
+Issue 1173 MetronomeMarks cannot be aligned on a note if a
+multi-measure rest exists in another voice}, and two spacing
+bugs:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1240,
+Issue 1240} and
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1252,
+Issue 1252}. If you decide to test 2.13.35, do not be surprised
+to discover problems; just send us polite @ref{Bug reports}.
-We are happy to announce the release of LilyPond 2.13.32. This
-release contains the usual number of bugfixes. However, a number
-of critical issues still remain, so this release is intended for
-developers only.
+@newsEnd
+
+
+@newsItem
+@subsubheading Alpha test of 2.14 -- LilyPond 2.13.34 released! @emph{Sep 21, 2010}
+
+LilyPond 2.13.34 is out; this is the first alpha test of the
+upcoming 2.14 stable release. Users are invited to experiment
+with this version. New features since 2.12.3 are listed in the
+@qq{Changes} manual on the website section about
+@ref{Development}.
+
+One known regression against 2.12.3 still exist:
+@uref{http://code.google.com/p/lilypond/issues/detail?id=1173,
+Issue 1173 MetronomeMarks cannot be aligned on a note if a
+multi-measure rest exists in another voice}, but we expect to find
+more. If you decide to test 2.13.34, do not be surprised to
+discover problems; just send us polite @ref{Bug reports}.
@newsEnd
@newsItem
-@subsubheading LilyPond Report #20. @emph{Sep 2, 2010}
+@subsubheading LilyPond 2.13.33 released! @emph{Sep 10, 2010}
-The @emph{LilyPond Report} is back, with its two
-@qq{grumpy-and-fluffy} editors! This issue contains a review of an
-online notation editor using lilypond, along with the regular
-release news, snippet of the report, news from the frog pond, and
-the bug report of the report!
+We are happy to announce the release of LilyPond 2.13.33. This
+release contains the usual number of bugfixes. However, a number
+of critical issues still remain, so this release is intended for
+developers only.
-Come
-@uref{http://news.lilynet.net/The-LilyPond-Report-20, read
-LilyPond Report 20} now; comments and contributions are
-warmly encouraged!
@newsEnd
* don't duplicate entries from news-front.itexi
@end ignore
+
+
+@newsItem
+@subsubheading LilyPond 2.13.32 released! @emph{Sep 3, 2010}
+
+We are happy to announce the release of LilyPond 2.13.32. This
+release contains the usual number of bugfixes. However, a number
+of critical issues still remain, so this release is intended for
+developers only.
+
+@newsEnd
+
+
+@newsItem
+@subsubheading LilyPond Report #20. @emph{Sep 2, 2010}
+
+The @emph{LilyPond Report} is back, with its two
+@qq{grumpy-and-fluffy} editors! This issue contains a review of an
+online notation editor using lilypond, along with the regular
+release news, snippet of the report, news from the frog pond, and
+the bug report of the report!
+
+Come
+@uref{http://news.lilynet.net/The-LilyPond-Report-20, read
+LilyPond Report 20} now; comments and contributions are
+warmly encouraged!
+@newsEnd
+
+
@newsItem
@subsubheading LilyPond 2.13.31 released! @emph{Aug 24, 2010}
# use two {{ for title, but one { for all others.
@inproceedings{percival08,
- title={{Generating Targeted Rhythmic Exercises for Music Students
+ title = {{Generating Targeted Rhythmic Exercises for Music Students
with Constraint Satisfaction Programming}},
- author={Graham Percival and Tosten Anders and George Tzanetakis},
- booktitle={International Computer Music Conference},
- year=2008,
+ author = {Graham Percival and Tosten Anders and George Tzanetakis},
+ booktitle = {International Computer Music Conference},
+ year = 2008,
}
@inproceedings{passos09,
- title={{Functional Harmonic Analysis and Computational Musicology
+ title = {{Functional Harmonic Analysis and Computational Musicology
in Rameau}},
- author={Alexandre Tachard Passos and Marcos Sampaio and Pedro
+ author = {Alexandre Tachard Passos and Marcos Sampaio and Pedro
Kröger and Givaldo de Cidra},
- booktitle={Proceedings of the 12th Brazilian Symposium on Computer
+ booktitle = {Proceedings of the 12th Brazilian Symposium on Computer
Music},
- year=2009,
- pages={207--210},
+ year = 2009,
+ pages = {207--210},
}
@inproceedings{simoes07,
- title={{Using Text Mining Techniques for Classical Music Scores
+ title = {{Using Text Mining Techniques for Classical Music Scores
Analysis}},
- author={Alberto Simões and Anália Lourenço and José João Almeida},
- booktitle={New Trends in Artificial Intelligence},
- editor={J. Neves et al.},
- year=2007,
+ author = {Alberto Simões and Anália Lourenço and José João Almeida},
+ booktitle = {New Trends in Artificial Intelligence},
+ editor = {J. Neves et al.},
+ year = 2007,
}
@inproceedings{baird05,
- title={{Real-time generation of music notation via audience interaction using
+ title = {{Real-time generation of music notation via audience interaction using
python and GNU LilyPond}},
- author={Kevin C. Baird},
- booktitle={New Interfaces for Music Expression},
- year=2005,
- month="May",
- location="Vancouver, Canada"
+ author = {Kevin C. Baird},
+ booktitle = {New Interfaces for Music Expression},
+ year = 2005,
+ month = "May",
+ location = "Vancouver, Canada"
}
# htaccess for root dir of lilypond.org
+# ----------------------------------------------------
+# The file comes from git master:
+# Documentation/web/server/lilypond.org.htaccess
+#
+# Please do not edit it directly (unless something
+# is critically broken); instead, change it in git
+# and then do the:
+# update-git.sh
+# check-git.sh
+# copy-git.sh
+# make-website.sh
+# as discussed in:
+# Contributor 5.2 Uploading and security
+# ----------------------------------------------------
RewriteEngine On
RewriteRule ^.*/source/.*$ /please-respect-robots.txt.html [L]
# Permanent top level entry points -- ./doc
-RedirectMatch ^/music-glossary /doc/Documentation/user/music-glossary/index
-RedirectMatch ^/tutorial /doc/Documentation/user/lilypond-learning/Tutorial
+RedirectMatch ^/music-glossary /glossary
+RedirectMatch ^/tutorial /learning
RedirectMatch ^/documentation/$ /doc
# Possibly resurrect this with new web site
# This breaks the documentation index with old site
# RedirectMatch ^/documentation$ /doc
-RedirectMatch ^/bugs http://code.google.com/p/lilypond/issues/list
+#
+RedirectMatch ^/bugs /bug-reports
+#RedirectMatch ^/bugs http://code.google.com/p/lilypond/issues/list
RedirectMatch ^/wiki http://wiki.lilynet.net
-RedirectMatch ^/authors /doc/Documentation/topdocs/AUTHORS
-RedirectMatch ^/news /doc/Documentation/topdocs/NEWS
+# the new website already has an /authors
+#RedirectMatch ^/authors /doc/Documentation/topdocs/AUTHORS
+# the new website has news on the main page
+RedirectMatch ^/news /
RedirectMatch ^/stable /doc/stable
-RedirectMatch ^/development /doc/development
+# the new website has a dedicated page for development.
+#RedirectMatch ^/development /doc/development
#old# default doc dir
RedirectMatch ^/doc/*$ /doc/v2.12
RewriteEngine on
RewriteBase /
-SetEnvIf REQUEST_URI .* WEB=/web
-## To switch over to the new site, we do not even need to put it in /web
-## we could do
-# SetEnvIf REQUEST_URI .* WEB=/doc/v2.13/Documentation
+SetEnvIf REQUEST_URI .* WEB=/website
# Rewrite empty to /web
RewriteCond %{REQUEST_URI} ^/*$
RewriteCond %{DOCUMENT_ROOT}%{ENV:WEB}%{REQUEST_URI} -d
# ...and does not start with /web
RewriteCond %{REQUEST_URI} !^%{ENV:WEB}
-RewriteCond %{REQUEST_URI} !^/web
+RewriteCond %{REQUEST_URI} !^/website
# ...and does not start with /doc$
RewriteCond %{REQUEST_URI} !^/doc$
# ...add trailing slash for [menu] and to avoid /web/ in browser url
RewriteRule ^(.+)$ http://%{HTTP_HOST}/$1/ [R,QSA,L]
# Request that does not start with /web
-RewriteCond %{REQUEST_URI} !^/web
+RewriteCond %{REQUEST_URI} !^/website
RewriteCond %{REQUEST_URI} !^%{ENV:WEB}
# ...and does not start with /doc/
RewriteCond %{REQUEST_URI} !^/doc/
# use two {{ for title, but one { for all others.
@inproceedings{hanwen06,
- title={{LilyPond, Automated music formatting and the Art of Shipping}},
- author={Han-Wen Nienhuys},
- booktitle={Forum Internacional Software Livre 2006 (FISL7.0)},
- year=2006,
- note={(@uref{http://lilypond.org/web/images/FISL7-slides.pdf, PDF 1095k})}
+ title = {{LilyPond, Automated music formatting and the Art of Shipping}},
+ author = {Han-Wen Nienhuys},
+ booktitle = {Forum Internacional Software Livre 2006 (FISL7.0)},
+ year = 2006,
+ note = {(@uref{http://lilypond.org/web/images/FISL7-slides.pdf, PDF 1095k})}
}
@mastersthesis{sandberg06,
- title={{Separating input language and formatter in GNU LilyPond}},
- author={Erik Sandberg},
- year=2006,
- month="March",
- school={Uppsala University, Department of Information Technology},
- note={(@uref{http://lilypond.org/web/images/thesis-erik-sandberg, PDF 750k})}
+ title = {{Separating input language and formatter in GNU LilyPond}},
+ author = {Erik Sandberg},
+ year = 2006,
+ month = "March",
+ school = {Uppsala University, Department of Information Technology},
+ note = {(@uref{http://lilypond.org/web/images/thesis-erik-sandberg, PDF 750k})}
}
@inproceedings{hanwen03,
- title={{LilyPond, a system for automated music engraving}},
- author={Han-Wen Nienhuys and Jan Nieuwenhuizen},
- booktitle={Colloquium on Musical Informatics (XIV CIM 2003)},
- year=2003,
- month=May,
- location={Firenze, Italy},
- note={(@uref{http://lilypond.org/web/images/xivcim.pdf, PDF 95k})}
+ title = {{LilyPond, a system for automated music engraving}},
+ author = {Han-Wen Nienhuys and Jan Nieuwenhuizen},
+ booktitle = {Colloquium on Musical Informatics (XIV CIM 2003)},
+ year = 2003,
+ month = May,
+ location = {Firenze, Italy},
+ note = {(@uref{http://lilypond.org/web/images/xivcim.pdf, PDF 95k})}
}
PACKAGE_NAME=LilyPond
MAJOR_VERSION=2
MINOR_VERSION=13
-PATCH_LEVEL=34
+PATCH_LEVEL=36
MY_PATCH_LEVEL=
VERSION_STABLE=2.12.3
-VERSION_DEVEL=2.13.33
+VERSION_DEVEL=2.13.35
void set_empty ();
void set_full ();
+ void unite_disjoint (Interval_t<T> h, T padding, Direction d);
+ Interval_t<T> union_disjoint (Interval_t<T> h, T padding, Direction d) const;
+
bool is_empty () const
{
return at (LEFT) > at (RIGHT);
at (RIGHT) = max (h.at (RIGHT), at (RIGHT));
}
+/* Unites h and this interval, but in such a way
+ that h will lie in a particular direction from this
+ interval, with a minimum amount of space in between.
+ (That is, h will be translated before we unite, if
+ that is necessary to prevent overlap. */
+template<class T>
+void
+Interval_t<T>::unite_disjoint (Interval_t<T> h, T padding, Direction d)
+{
+ T dir = d;
+ T translation = dir * (at (d) + dir * padding - h.at (-d));
+ if (translation > (T) 0)
+ h.translate (translation);
+ unite (h);
+}
+
+template<class T>
+Interval_t<T>
+Interval_t<T>::union_disjoint (Interval_t<T> h, T padding, Direction d) const
+{
+ Interval_t<T> iv = *this;
+ iv.unite_disjoint (h, padding, d);
+ return iv;
+}
+
template<class T>
void
Interval_t<T>::intersect (Interval_t<T> h)
\version "2.12.0"
\header {
- texidoc = "The @code{\applyOutput} expression is the most flexible way to
+ texidoc = "The @code{\\applyOutput} expression is the most flexible way to
tune properties for individual grobs.
Here, the layout of a note head is changed depending on its vertical
--- /dev/null
+\version "2.13.36"
+
+\header {
+ texidoc = "Grace notes at the start of a partial measure do not
+break autobeaming."
+}
+
+\relative c' {
+ \partial 4
+ \grace e16
+ d8 d
+ c8 c c c c c c c
+}
\header {
texidoc = "Specifying @code{grow-direction} on a beam, will cause
- feathered beaming. The @code{\featherDurations} function can be used
+ feathered beaming. The @code{\\featherDurations} function can be used
to adjust note durations."
}
\header {
texidoc = "Chords can be produced with the chordname entry
-code (@code{\chordmode} mode), using a pitch and a suffix. Here,
+code (@code{\\chordmode} mode), using a pitch and a suffix. Here,
the suffixes are printed below pitches.
"
\header {
texidoc = "@cindex Chord Names German
The english naming of chords (default) can be changed to german
-(@code{\germanChords} replaces B and Bes to H and B), semi-german
-(@code{\semiGermanChords} replaces B and Bes to H and Bb), italian
-(@code{\italianChords} uses Do Re Mi Fa Sol La Si), or french
-(@code{\frenchChords} replaces Re to Ré).
+(@code{\\germanChords} replaces B and Bes to H and B), semi-german
+(@code{\\semiGermanChords} replaces B and Bes to H and Bb), italian
+(@code{\\italianChords} uses Do Re Mi Fa Sol La Si), or french
+(@code{\\frenchChords} replaces Re to Ré).
" }
\header{
texidoc = "Each grob can have a color assigned to it.
-Use the @code{\override} and @code{\revert} expressions to set the
+Use the @code{\\override} and @code{\\revert} expressions to set the
@code{color} property."
}
%% \partial
\test "" ##[ \partial 2 #]
\test "" ##[ \partial 8. #]
-\test #"TODO? exotic durations in \\partial" ##[ \partial 4*2/3 #]
+\test "" ##[ \partial 4*2/3 #]
%% \partcombine
\test "" ##[ \partcombine { c e }
texidoc = " Figured bass is created by the FiguredBass context which
responds to figured bass events and rest events. You must enter these
-using the special @code{\figuremode @{ @}} mode, which allows you to
+using the special @code{\\figuremode @{ @}} mode, which allows you to
type numbers, like @code{<4 6+>} and add slashes, backslashes and pluses.
You can also enter markup strings. The vertical alignment may also be tuned.
--- /dev/null
+\version "2.13.34"
+
+\header {
+ texidoc = "Context modification via @code{\\with} filters translators
+of the wrong type: performers for an @code{Engraver_group} and engravers
+for a @code{Performer_group}. In this test, the
+@code{Instrument_name_engraver} is added to a @code{StaffGroup}, but
+does not affect midi output, since it is filtered out."
+}
+
+\score {
+ \new StaffGroup \with {
+ \consists "Instrument_name_engraver"
+ instrumentName = #"StaffGroup"
+ }
+ {
+ a'1
+ }
+ \layout { }
+ \midi { }
+}
\header {
- texidoc = "Glissandi are not broken. Here a @code{\break} is ineffective.
+ texidoc = "Glissandi are not broken. Here a @code{\\break} is ineffective.
Use @code{breakable} grob property to override."
}
\header {
- texidoc = "The @code{\voiceOne} setting is retained after
+ texidoc = "The @code{\\voiceOne} setting is retained after
finishing the grace section."
}
\header{
texidoc=" You can have beams, notes, chords, stems etc. within a
-@code{\grace} section. If there are tuplets, the grace notes will not
+@code{\\grace} section. If there are tuplets, the grace notes will not
be under the brace.
Main note scripts do not end up on the grace note.
\header {
texidoc = "@code{ly:parser-include-string} should include the current
-string like a file @code{\include}."
+string like a file @code{\\include}."
}
#(ly:parser-include-string parser "\\relative c' { a4 b c d }")
texidoc = "Instrument names horizontal alignment is tweaked by
changing the @code{Staff.Instrument #'self-alignment-X} property. The
-@code{\layout} variables @code{indent} and @code{short-indent} define
+@code{\\layout} variables @code{indent} and @code{short-indent} define
the space where the instrument names are aligned before the first and
the following systems, respectively."
\header {
- texidoc = "@code{\laissezVibrer} ties on beamed notes don't trigger
+ texidoc = "@code{\\laissezVibrer} ties on beamed notes don't trigger
premature beam slope calculation. "
}
them with a @code{$}, both in a LilyPond context or in a Scheme
context.
-In this example, the @code{\withpaddingA}, @code{\withpaddingB} and
-@code{\withpaddingC} music functions set different kinds of padding on
+In this example, the @code{\\withpaddingA}, @code{\\withpaddingB} and
+@code{\\withpaddingC} music functions set different kinds of padding on
the @code{TextScript} grob.
"
\header {
texidoc ="Polyphonic rhythms and rests do not disturb
-@code{\lyricsto}."
+@code{\\lyricsto}."
}
tight situations. If in this it still does not fit, the hyphen will be
omitted.
-Like all overrides within @code{\lyricsto} and @code{\addlyrics}, the
+Like all overrides within @code{\\lyricsto} and @code{\\addlyrics}, the
effect of a setting is delayed is one syllable."
}
\header {
- texidoc = "The markup commands @code{\wordwrap} and @code{\justify}
+ texidoc = "The markup commands @code{\\wordwrap} and @code{\\justify}
produce simple paragraph text."
}
-\header { texidoc = "The centering of multi-measure rests is
-independent on prefatory matter in other staves."
-
- }
-
-
-\version "2.12.0"
-\layout { ragged-right = ##t }
-
-
-<< \new Staff { R1 }
- \new Staff { f'1 \clef bass }
-
- >>
-
-
-
+\version "2.13.34"
+
+\header {
+ texidoc = "Though the default spacing for multi-measure rests
+is affected by prefatory matter in other staves, centering can be
+restored by overriding @code{spacing-pair}."
+}
+
+<<
+ \new Staff {
+ \once \override MultiMeasureRest #'spacing-pair =
+ #'(break-alignment . staff-bar)
+ R1
+ }
+ \new Staff {
+ f'1
+ \clef bass
+ }
+>>
\version "2.12.0"
-\header{
+\header {
texidoc="
-Multi-measure rests do not collide with barlines and clefs. They
+Multi-measure rests do not collide with bar lines and clefs. They
are not expanded when you set @code{Score.skipBars}. Although the
-multi-measure-rest is a Spanner, minimum distances are set to keep it
-colliding from barlines.
-
-Rests over measures during longer than 2 wholes use breve rests. When
-more than 10 or more measures (tunable through @code{expand-limit})
-are used then a different symbol is used.
+multi-measure-rest is a Spanner, minimum distances are set to stop it
+colliding with bar lines.
+Rests over measures lasting longer than 2 wholes use breve rests. When
+more than 10 measures (tunable through @code{expand-limit}) are used
+then a different symbol is used.
"
}
\Score
skipBars = ##t
}
- ragged-right = ##t
}
-
{
- \time 3/4 \key cis \major
+ \time 3/4
+ \key cis \major
R2.*15
R2.*7
R2.*9
R2.*11
-
+ \clef bass
\time 8/4 R1*2
}
-
-
\header {
texidoc = "
Multiple overrides to the default time signature settings can be
-added. In this example, all notes should be beamed at 1/4.
+added. In this example, notes should be beamed as indicated
+by the markups.
"
}
#'(1 1 1) % beatStructure
#'() % beamExceptions
\time 4/4
- c8 c c c c c c c |
+ c8^\markup {"Beam by 1/4"} c c c c c c c |
\time 3/4
- c8 c c c c c |
+ c8^\markup {"Beam by 1/4"} c c c c c |
+ \revertTimeSignatureSettings #'Score #'(4 . 4)
+ \revertTimeSignatureSettings #'Score #'(3 . 4)
\time 4/4
- c8 c c c c c c c |
+ c8^\markup {"Beam by 1/2"} c c c c c c c |
\time 3/4
- c8 c c c c c |
+ c8^\markup {"Beam by 3/4"} c c c c c |
}
texidoc = "Music functions are generic music transformation functions,
which can be used to extend music syntax seamlessly. Here we
-demonstrate a @code{\myBar} function, which works similar to
-@code{\bar}, but is implemented completely in Scheme."
+demonstrate a @code{\\myBar} function, which works similar to
+@code{\\bar}, but is implemented completely in Scheme."
}
\version "2.12.0"
--- /dev/null
+\version "2.13.36"
+
+\header {
+ texidoc = "The height-estimation routine takes into account
+the fact that the TextScript needs to be moved up to avoid the
+note. This should be spaced on two pages."
+}
+
+#(set-default-paper-size "a7")
+
+\book {
+ \repeat unfold 5 { g'''1^"Text" \break}
+}
--- /dev/null
+\version "2.13.35"
+
+\header {
+ texidoc = "The height-estimation routine doesn't get confused
+by multiple outside-staff grobs in the same measure."
+}
+
+#(set-default-paper-size "a7")
+
+\book {
+ \repeat unfold 4 { \repeat unfold 4 {g'''4^"Text"} \break}
+}
spacing of page layout can be adjusted.
For technical reasons, @code{overrideProperty} has to be used for
-setting properties on individual object. @code{\override} may still be
+setting properties on individual object. @code{\\override} may still be
used for global overrides.
By setting @code{annotate-spacing}, we can see the effect of each property.
--- /dev/null
+
+\header {
+ texidoc ="If the part-combiner shows two separate voices, multi-measure rests
+ are supposed to use the same settings as @code{\voiceOnce} and @code{\voiceTwo}.
+"
+}
+
+\layout { ragged-right = ##t }
+
+\version "2.13.36"
+
+mI = \relative c'' {
+ \partcombineApart
+ c2 c |
+ R1 |
+ c1
+}
+mII = \relative c' {
+ R1 |
+ c2 c |
+ c1
+}
+
+\score {
+ \new Staff \partcombine \mI \mII
+}
--- /dev/null
+
+\header {
+ texidoc ="Overrides for the part-combiner, affecting only one moment.
+ The @code{partcombine...Once} override applies only to one moment, after which the
+ old override -- if any -- is in effect again.
+"
+}
+
+\layout { ragged-right = ##t }
+
+\version "2.13.36"
+
+mI = \relative c' {
+ e4 e \partcombineApartOnce c c |
+ \partcombineApart c \partcombineChordsOnce e e e |
+ c \partcombineUnisonoOnce c c c |
+ \partcombineAutomatic \partcombineSoloIOnce r2 c4 c |
+ \partcombineSoloIIOnce R1 |
+}
+mII = \relative c' {
+ c4 \partcombineApartOnce c c c |
+ c c \partcombineAutomaticOnce e e |
+ c c c c |
+ R1 |
+ r2 c4 c |
+}
+
+\score {
+ \new Staff \partcombine \mI \mII
+}
--- /dev/null
+
+\header {
+ texidoc ="Overrides for the part-combiner. All functions like
+ @code{\partcombineApart} and @code{\partcombineApartOnce} are internally implemented
+ using a dedicated @code{PartCombineForceEvent}.
+"
+}
+
+\layout { ragged-right = ##t }
+
+\version "2.13.36"
+
+mI = \relative c' {
+ e4 e c2 |
+ \partcombineApart c^"apart" e |
+ e e |
+ \partcombineChords e'^"chord" e |
+ \partcombineAutomatic c c\> |
+ \partcombineUnisono c^"unisono" c |
+ \partcombineAutomatic c\! c^"V1 longer" |
+}
+mII = \relative c' {
+ c4 c c2 |
+ c c |
+ \partcombineAutomatic e^"auto" e |
+ a, c |
+ c c' |
+ c c |
+ c
+}
+
+\score {
+ \new Staff \partcombine \mI \mII
+}
\version "2.13.31"
\header {
- texidoc = "@code{\partial} works with polymetric staves."
+ texidoc = "@code{\\partial} works with polymetric staves."
}
\score {
-\version "2.12.0"
+\version "2.13.36"
\header {
texidoc = "Predefined fretboards and chord shapes can be added.
% add chords
-\storePredefinedDiagram \chordmode {bes}
+\storePredefinedDiagram #default-fret-table \chordmode {bes}
#guitar-tuning
#(chord-shape 'bes guitar-tuning)
-\storePredefinedDiagram \chordmode {c}
+\storePredefinedDiagram #default-fret-table \chordmode {c}
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes guitar-tuning))
texidoc = " The @code{cueDuring} form of quotation will set stem
directions on both quoted and main voice, and deliver the quoted voice
-in the @code{cue} @code{Voice}. The music function @code{\killCues}
+in the @code{cue} @code{Voice}. The music function @code{\\killCues}
can remove all cue notes.
Spanners run to the end of a cue section, and are not started on the
texidoc= "Rehearsal marks in letter style: the I is skipped, and
after Z, double letters are used. The mark may be set with
-@code{\mark NUMBER}, or with @code{Score.rehearsalMark}."
+@code{\\mark NUMBER}, or with @code{Score.rehearsalMark}."
}
\version "2.12.0"
\header { texidoc = "Volta repeats may be unfolded through the music
- function @code{\unfoldRepeats}."
+ function @code{\\unfoldRepeats}."
}
--- /dev/null
+\version "2.13.36"
+
+\header {
+ texidoc = "Use @code{define-event-class}, scheme engraver methods,
+and grob creation methods to create a fully functional text spanner
+in scheme."
+}
+
+#(define-event-class 'scheme-text-span-event
+ '(scheme-text-span-event
+ span-event
+ music-event
+ StreamEvent))
+
+#(define (add-grob-definition grob-name grob-entry)
+ (let* ((meta-entry (assoc-get 'meta grob-entry))
+ (class (assoc-get 'class meta-entry))
+ (ifaces-entry (assoc-get 'interfaces meta-entry)))
+ (set-object-property! grob-name 'translation-type? list?)
+ (set-object-property! grob-name 'is-grob? #t)
+ (set! ifaces-entry (append (case class
+ ((Item) '(item-interface))
+ ((Spanner) '(spanner-interface))
+ ((Paper_column) '((item-interface
+ paper-column-interface)))
+ ((System) '((system-interface
+ spanner-interface)))
+ (else '(unknown-interface)))
+ ifaces-entry))
+ (set! ifaces-entry (uniq-list (sort ifaces-entry symbol<?)))
+ (set! ifaces-entry (cons 'grob-interface ifaces-entry))
+ (set! meta-entry (assoc-set! meta-entry 'name grob-name))
+ (set! meta-entry (assoc-set! meta-entry 'interfaces
+ ifaces-entry))
+ (set! grob-entry (assoc-set! grob-entry 'meta meta-entry))
+ (set! all-grob-descriptions
+ (cons (cons grob-name grob-entry)
+ all-grob-descriptions))))
+
+#(add-grob-definition
+ 'SchemeTextSpanner
+ `(
+ (bound-details . ((left . ((Y . 0)
+ (padding . 0.25)
+ (attach-dir . ,LEFT)
+ ))
+ (left-broken . ((end-on-note . #t)))
+ (right . ((Y . 0)
+ (padding . 0.25)
+ ))
+ ))
+ (dash-fraction . 0.2)
+ (dash-period . 3.0)
+ (direction . ,UP)
+ (font-shape . italic)
+ (left-bound-info . ,ly:line-spanner::calc-left-bound-info)
+ (outside-staff-priority . 350)
+ (right-bound-info . ,ly:line-spanner::calc-right-bound-info)
+ (staff-padding . 0.8)
+ (stencil . ,ly:line-spanner::print)
+ (style . dashed-line)
+
+ (meta . ((class . Spanner)
+ (interfaces . (font-interface
+ line-interface
+ line-spanner-interface
+ side-position-interface))))))
+
+#(define scheme-event-spanner-types
+ '(
+ (SchemeTextSpanEvent
+ . ((description . "Used to signal where scheme text spanner brackets
+start and stop.")
+ (types . (general-music scheme-text-span-event span-event event))
+ ))
+ ))
+
+#(set!
+ scheme-event-spanner-types
+ (map (lambda (x)
+ (set-object-property! (car x)
+ 'music-description
+ (cdr (assq 'description (cdr x))))
+ (let ((lst (cdr x)))
+ (set! lst (assoc-set! lst 'name (car x)))
+ (set! lst (assq-remove! lst 'description))
+ (hashq-set! music-name-to-property-table (car x) lst)
+ (cons (car x) lst)))
+ scheme-event-spanner-types))
+
+#(set! music-descriptions
+ (append scheme-event-spanner-types music-descriptions))
+
+#(set! music-descriptions
+ (sort music-descriptions alist<?))
+
+#(define (add-bound-item spanner item)
+ (if (null? (ly:spanner-bound spanner LEFT))
+ (ly:spanner-set-bound! spanner LEFT item)
+ (ly:spanner-set-bound! spanner RIGHT item)))
+
+#(define (axis-offset-symbol axis)
+ (if (eq? axis X) 'X-offset 'Y-offset))
+
+#(define (set-axis! grob axis)
+ (if (not (number? (ly:grob-property grob 'side-axis)))
+ (begin
+ (set! (ly:grob-property grob 'side-axis) axis)
+ (ly:grob-chain-callback
+ grob
+ (if (eq? axis X)
+ ly:side-position-interface::x-aligned-side
+ ly:side-position-interface::y-aligned-side)
+ (axis-offset-symbol axis)))))
+
+schemeTextSpannerEngraver =
+#(lambda (context)
+ (let ((span '())
+ (finished '())
+ (current-event '())
+ (event-drul '(() . ())))
+ (list (cons 'listeners
+ (list (cons 'scheme-text-span-event
+ (lambda (engraver event)
+ (if (= START (ly:event-property event 'span-direction))
+ (set-car! event-drul event)
+ (set-cdr! event-drul event))))))
+ (cons 'acknowledgers
+ (list (cons 'note-column-interface
+ (lambda (engraver grob source-engraver)
+ (if (ly:spanner? span)
+ (begin
+ (ly:pointer-group-interface::add-grob span 'note-columns grob)
+ (add-bound-item span grob)))
+ (if (ly:spanner? finished)
+ (begin
+ (ly:pointer-group-interface::add-grob finished 'note-columns grob)
+ (add-bound-item finished grob)))))))
+ (cons 'process-music
+ (lambda (trans)
+ (if (ly:stream-event? (cdr event-drul))
+ (if (null? span)
+ (ly:warning "You're trying to end a scheme text spanner but you haven't started one.")
+ (begin (set! finished span)
+ (ly:engraver-announce-end-grob trans finished current-event)
+ (set! span '())
+ (set! current-event '())
+ (set-cdr! event-drul '()))))
+ (if (ly:stream-event? (car event-drul))
+ (begin (set! current-event (car event-drul))
+ (set! span (ly:engraver-make-grob trans 'SchemeTextSpanner current-event))
+ (set-axis! span Y)
+ (set-car! event-drul '())))))
+ (cons 'stop-translation-timestep
+ (lambda (trans)
+ (if (and (ly:spanner? span)
+ (null? (ly:spanner-bound span LEFT)))
+ (set! (ly:spanner-bound span LEFT)
+ (ly:context-property context 'currentMusicalColumn)))
+ (if (ly:spanner? finished)
+ (begin
+ (if (null? (ly:spanner-bound finished RIGHT))
+ (set! (ly:spanner-bound finished RIGHT)
+ (ly:context-property context 'currentMusicalColumn)))
+ (set! finished '())
+ (set! event-drul '(() . ()))))))
+ (cons 'finalize
+ (lambda (trans)
+ (if (ly:spanner? finished)
+ (begin
+ (if (null? (ly:spanner-bound finished RIGHT))
+ (set! (ly:spanner-bound finished RIGHT)
+ (ly:context-property context 'currentMusicalColumn)))
+ (set! finished '())))
+ (if (ly:spanner? span)
+ (begin
+ (ly:warning "I think there's a dangling scheme text spanner :-(")
+ (ly:grob-suicide! span)
+ (set! span '()))))))))
+
+schemeTextSpannerStart =
+#(make-span-event 'SchemeTextSpanEvent START)
+
+schemeTextSpannerEnd =
+#(make-span-event 'SchemeTextSpanEvent STOP)
+
+\layout {
+ \context {
+ \Global
+ \grobdescriptions #all-grob-descriptions
+ }
+ \context {
+ \Voice
+ \consists \schemeTextSpannerEngraver
+ }
+}
+
+\relative c' {
+ a4 b\schemeTextSpannerStart c d |
+ \repeat unfold 20 { a4 b c d | }
+ a4 b c\schemeTextSpannerEnd d |
+ \override SchemeTextSpanner #'to-barline = ##t
+ a4\schemeTextSpannerStart b d c |
+ \repeat unfold 20 { a4 b c d | }
+ a1\schemeTextSpannerEnd |
+}
\header {
texidoc = "New sections for spacing can be started with
-@code{\newSpacingSection}. In this example, a section is started at
+@code{\\newSpacingSection}. In this example, a section is started at
the 4/16, and a 16th in the second section takes as much space as a
8th in first section."
texidoc = "
Tremolos will appear on tablature staffs only if
-@code{\tabFullNotation} is active. Otherwise, no
+@code{\\tabFullNotation} is active. Otherwise, no
tremolo indications are displayed on the TabStaff.
Also, tablature beams are the same thickness on TabStaff
and Staff."
\music
}
}
+
#include "system.hh"
#include "warn.hh"
+static bool
+pure_staff_priority_less (Grob *const &g1, Grob *const &g2);
+
void
Axis_group_interface::add_element (Grob *me, Grob *e)
{
// is at the beginning of a line. The second vector stores, for each measure,
// the combined height of the elements that are present only when the bar
// is not at the beginning of a line.
-
MAKE_SCHEME_CALLBACK (Axis_group_interface, adjacent_pure_heights, 1)
SCM
Axis_group_interface::adjacent_pure_heights (SCM smob)
Grob *me = unsmob_grob (smob);
Grob *common = unsmob_grob (me->get_object ("pure-Y-common"));
- extract_grob_set (me, "pure-relevant-items", items);
- extract_grob_set (me, "pure-relevant-spanners", spanners);
+ extract_grob_set (me, "pure-relevant-grobs", elts);
Paper_score *ps = get_root_system (me)->paper_score ();
- vector<vsize> breaks = ps->get_break_indices ();
- vector<Grob*> cols = ps->get_columns ();
+ vector<vsize> ranks = ps->get_break_ranks ();
- SCM begin_line_heights = scm_c_make_vector (breaks.size () - 1, SCM_EOL);
- SCM mid_line_heights = scm_c_make_vector (breaks.size () - 1, SCM_EOL);
+ vector<Interval> begin_line_heights;
+ vector<Interval> mid_line_heights;
+ vector<Interval> begin_line_staff_heights;
+ vector<Interval> mid_line_staff_heights;
+ begin_line_heights.resize (ranks.size () - 1);
+ mid_line_heights.resize (ranks.size () - 1);
- vsize it_index = 0;
- for (vsize i = 0; i + 1 < breaks.size (); i++)
+ for (vsize i = 0; i < elts.size (); ++i)
{
- int start = Paper_column::get_rank (cols[breaks[i]]);
- int end = Paper_column::get_rank (cols[breaks[i+1]]);
+ Grob *g = elts[i];
- // Take grobs that are visible with respect to a slightly longer line.
- // Otherwise, we will never include grobs at breakpoints which aren't
- // end-of-line-visible.
- int visibility_end = i + 2 < breaks.size () ?
- Paper_column::get_rank (cols[breaks[i+2]]) : end;
+ if (to_boolean (g->get_property ("cross-staff")))
+ continue;
- Interval begin_line_iv;
- Interval mid_line_iv;
+ bool outside_staff = scm_is_number (g->get_property ("outside-staff-priority"));
+ Real padding = robust_scm2double (g->get_property ("outside-staff-padding"), 0.5);
- for (vsize j = it_index; j < items.size (); j++)
+ // When we encounter the first outside-staff grob, make a copy
+ // of the current heights to use as an estimate for the staff heights.
+ // Note that the outside-staff approximation that we use here doesn't
+ // consider any collisions that might occur between outside-staff grobs,
+ // but only the fact that outside-staff grobs may need to be raised above
+ // the staff.
+ if (outside_staff && begin_line_staff_heights.empty ())
{
- Item *it = dynamic_cast<Item*> (items[j]);
- int rank = it->get_column ()->get_rank ();
-
- if (rank <= end && it->pure_is_visible (start, visibility_end)
- && !to_boolean (it->get_property ("cross-staff")))
- {
- Interval dims = items[j]->pure_height (common, start, end);
- Interval &target_iv = start == it->get_column ()->get_rank () ? begin_line_iv : mid_line_iv;
+ begin_line_staff_heights = begin_line_heights;
+ mid_line_staff_heights = mid_line_heights;
+ }
- if (!dims.is_empty ())
- target_iv.unite (dims);
- }
+ // TODO: consider a pure version of get_grob_direction?
+ Direction d = to_dir (g->get_property_data ("direction"));
+ d = (d == CENTER) ? UP : d;
- if (rank < end)
- it_index++;
- else if (rank > end)
- break;
- }
+ Interval_t<int> rank_span = g->spanned_rank_interval ();
+ vsize first_break = lower_bound (ranks, (vsize)rank_span[LEFT], less<vsize> ());
+ if (first_break > 0 && ranks[first_break] >= (vsize)rank_span[LEFT])
+ first_break--;
- for (vsize j = 0; j < spanners.size (); j++)
+ for (vsize j = first_break; j+1 < ranks.size () && (int)ranks[j] <= rank_span[RIGHT]; ++j)
{
- Interval_t<int> rank_span = spanners[j]->spanned_rank_interval ();
- if (rank_span[LEFT] <= end && rank_span[RIGHT] >= start
- && !to_boolean (spanners[j]->get_property ("cross-staff")))
- {
- Interval dims = spanners[j]->pure_height (common, start, end);
+ int start = ranks[j];
+ int end = ranks[j+1];
+
+ // Take grobs that are visible with respect to a slightly longer line.
+ // Otherwise, we will never include grobs at breakpoints which aren't
+ // end-of-line-visible.
+ int visibility_end = j + 2 < ranks.size () ? ranks[j+2] : end;
+ if (g->pure_is_visible (start, visibility_end))
+ {
+ Interval dims = g->pure_height (common, start, end);
if (!dims.is_empty ())
{
- mid_line_iv.unite (dims);
if (rank_span[LEFT] <= start)
- begin_line_iv.unite (dims);
+ {
+ if (outside_staff)
+ begin_line_heights[j].unite (
+ begin_line_staff_heights[j].union_disjoint (dims, padding, d));
+ else
+ begin_line_heights[j].unite (dims);
+ }
+ if (rank_span[RIGHT] > start)
+ {
+ if (outside_staff)
+ mid_line_heights[j].unite (
+ mid_line_staff_heights[j].union_disjoint (dims, padding, d));
+ else
+ mid_line_heights[j].unite (dims);
+ }
}
}
}
+ }
- scm_vector_set_x (begin_line_heights, scm_from_int (i), ly_interval2scm (begin_line_iv));
- scm_vector_set_x (mid_line_heights, scm_from_int (i), ly_interval2scm (mid_line_iv));
+ // Convert begin_line_heights and min_line_heights to SCM.
+ SCM begin_scm = scm_c_make_vector (ranks.size () - 1, SCM_EOL);
+ SCM mid_scm = scm_c_make_vector (ranks.size () - 1, SCM_EOL);
+ for (vsize i = 0; i < begin_line_heights.size (); ++i)
+ {
+ scm_vector_set_x (begin_scm, scm_from_int (i), ly_interval2scm (begin_line_heights[i]));
+ scm_vector_set_x (mid_scm, scm_from_int (i), ly_interval2scm (mid_line_heights[i]));
}
- return scm_cons (begin_line_heights, mid_line_heights);
+
+ return scm_cons (begin_scm, mid_scm);
}
Interval
Unfortunately, it isn't always true, particularly if there is a
VerticalAlignment somewhere in the descendants.
- Apart from PianoStaff, which has a fixed VerticalAlignment so it doesn't
- count, the only VerticalAlignment comes from Score. This makes it
+ Usually, the only VerticalAlignment comes from Score. This makes it
reasonably safe to assume that if our parent is a VerticalAlignment,
we can assume additivity and cache things nicely. */
Grob *p = me->get_parent (Y_AXIS);
return Axis_group_interface::cached_pure_height (me, start, end);
Grob *common = unsmob_grob (me->get_object ("pure-Y-common"));
- extract_grob_set (me, "pure-relevant-items", items);
- extract_grob_set (me, "pure-relevant-spanners", spanners);
+ extract_grob_set (me, "pure-relevant-grobs", elts);
Interval r;
-
- for (vsize i = 0; i < items.size (); i++)
- {
- Item *it = dynamic_cast<Item*> (items[i]);
- int rank = it->get_column ()->get_rank ();
-
- if (rank > end)
- break;
- else if (rank >= start && it->pure_is_visible (start, end)
- && !to_boolean (it->get_property ("cross-staff")))
- {
- Interval dims = it->pure_height (common, start, end);
- if (!dims.is_empty ())
- r.unite (dims);
- }
- }
-
- for (vsize i = 0; i < spanners.size (); i++)
+ for (vsize i = 0; i < elts.size (); i++)
{
- Interval_t<int> rank_span = spanners[i]->spanned_rank_interval ();
+ Grob *g = elts[i];
+ Interval_t<int> rank_span = g->spanned_rank_interval ();
if (rank_span[LEFT] <= end && rank_span[RIGHT] >= start
- && !to_boolean (spanners[i]->get_property ("cross-staff")))
+ && g->pure_is_visible (start, end)
+ && !to_boolean (g->get_property ("cross-staff")))
{
- Interval dims = spanners[i]->pure_height (common, start, end);
+ Interval dims = g->pure_height (common, start, end);
if (!dims.is_empty ())
r.unite (dims);
}
}
}
+ vector_sort (relevant_grobs, pure_staff_priority_less);
SCM grobs_scm = Grob_array::make_array ();
unsmob_grob_array (grobs_scm)->set_array (relevant_grobs);
return grobs_scm;
}
-MAKE_SCHEME_CALLBACK (Axis_group_interface, calc_pure_relevant_items, 1);
-SCM
-Axis_group_interface::calc_pure_relevant_items (SCM smob)
-{
- Grob *me = unsmob_grob (smob);
-
- extract_grob_set (me, "pure-relevant-grobs", elts);
-
- vector<Grob*> relevant_items;
- for (vsize i = 0; i < elts.size (); i++)
- if (Item *it = dynamic_cast<Item*> (elts[i]))
- relevant_items.push_back (it);
-
- vector_sort (relevant_items, Item::less);
-
- SCM items_scm = Grob_array::make_array ();
- unsmob_grob_array (items_scm)->set_array (relevant_items);
- return items_scm;
-}
-
-MAKE_SCHEME_CALLBACK (Axis_group_interface, calc_pure_relevant_spanners, 1);
-SCM
-Axis_group_interface::calc_pure_relevant_spanners (SCM smob)
-{
- Grob *me = unsmob_grob (smob);
-
- extract_grob_set (me, "pure-relevant-grobs", elts);
-
- vector<Grob*> relevant_spanners;
- for (vsize i = 0; i < elts.size (); i++)
- if (dynamic_cast<Spanner*> (elts[i]))
- relevant_spanners.push_back (elts[i]);
-
- SCM spanners_scm = Grob_array::make_array ();
- unsmob_grob_array (spanners_scm)->set_array (relevant_spanners);
- return spanners_scm;
-}
-
MAKE_SCHEME_CALLBACK (Axis_group_interface, calc_pure_y_common, 1);
SCM
Axis_group_interface::calc_pure_y_common (SCM smob)
}
}
-bool
+static bool
staff_priority_less (Grob * const &g1, Grob * const &g2)
{
Real priority_1 = robust_scm2double (g1->get_property ("outside-staff-priority"), -infinity_f);
return start_1 < start_2;
}
+static bool
+pure_staff_priority_less (Grob * const &g1, Grob * const &g2)
+{
+ Real priority_1 = robust_scm2double (g1->get_property ("outside-staff-priority"), -infinity_f);
+ Real priority_2 = robust_scm2double (g2->get_property ("outside-staff-priority"), -infinity_f);
+
+ return priority_1 < priority_2;
+}
+
static void
add_boxes (Grob *me, Grob *x_common, Grob *y_common, vector<Box> *const boxes, Skyline_pair *skylines)
{
Interval first_line = line_dimensions_int (pscore_->layout (), 0);
Interval other_lines = line_dimensions_int (pscore_->layout (), 1);
/* do all the rod/spring problems */
- breaks_ = pscore_->find_break_indices ();
+ breaks_ = pscore_->get_break_indices ();
all_ = pscore_->root_system ()->used_columns ();
lines_.resize (breaks_.size (), breaks_.size (), Line_details ());
vector<Real> forces = get_line_forces (all_,
void
Fingering_engraver::stop_translation_timestep ()
{
- if (!fingerings_.size ())
- return;
-
fingerings_.clear ();
events_.clear ();
}
return Interval_t<int> (-1, 0);
}
+bool
+Grob::pure_is_visible (int start, int end) const
+{
+ return true;
+}
+
+/* Sort grobs according to their starting column. */
+bool
+Grob::less (Grob *g1, Grob *g2)
+{
+ return g1->spanned_rank_interval ()[LEFT] < g2->spanned_rank_interval ()[LEFT];
+}
+
/****************************************************************
REFPOINTS
****************************************************************/
void fixup_refpoint ();
virtual Interval_t<int> spanned_rank_interval () const;
+ virtual bool pure_is_visible (int start, int end) const;
bool check_cross_staff (Grob *common);
+ static bool less (Grob *g1, Grob *g2);
};
/* smob utilities */
static bool is_non_musical (Grob *);
static bool break_visible(Grob *);
- static bool less (Grob * const&, Grob * const&);
bool is_broken () const;
- bool pure_is_visible (int start, int end) const;
+ virtual bool pure_is_visible (int start, int end) const;
Direction break_status_dir () const;
mutable vector<Grob*> cols_;
mutable vector<vsize> break_indices_;
+ mutable vector<vsize> break_ranks_;
public:
Paper_score (Output_def *);
void typeset_system (System *);
vector<Column_x_positions> calc_breaking ();
- vector<vsize> find_break_indices () const;
vector<vsize> get_break_indices () const;
+ vector<vsize> get_break_ranks () const;
vector<Grob*> get_columns () const;
SCM get_paper_systems ();
protected:
+ void find_break_indices () const;
virtual void process ();
virtual void derived_mark () const;
virtual void create_audio_elements ();
};
+Performer *unsmob_performer (SCM perf);
+
#endif /* PERFORMER_HH */
return cached_pure_height_ + pure_relative_y_coordinate (g, start, end);
}
-bool
-Item::less (Grob * const &g1, Grob * const &g2)
-{
- return dynamic_cast<Item*> (g1)->get_column ()->get_rank () < dynamic_cast<Item*> (g2)->get_column ()->get_rank ();
-}
-
ADD_INTERFACE (Item,
"Grobs can be distinguished in their role in the horizontal"
" spacing. Many grobs define constraints on the spacing by"
- breaker_->min_whitespace_at_bottom_of_page (last_line_);
if (rod_height_ + last_line_.bottom_padding_ >= height)
- force_ = infinity_f;
+ force_ = -infinity_f;
else
force_ = (height - rod_height_ - last_line_.bottom_padding_ - spring_len_)
/ max (0.1, inverse_spring_k_);
space.force_ = 0;
Real demerits = space.force_ * space.force_;
- /* If a single line is taller than a page, we need to consider it as
- a possible solution (but we give it a very bad score). */
- if (isinf (space.force_) && page_start == line)
- demerits = BAD_SPACING_PENALTY;
+
+ // Clamp the demerits at BAD_SPACING_PENALTY, even if the page
+ // is overfull. This ensures that TERRIBLE_SPACING_PENALTY takes
+ // precedence over overfull pages.
+ demerits = min (demerits, BAD_SPACING_PENALTY);
demerits += (prev ? prev->demerits_ : 0);
Real penalty = breaker_->line_count_penalty (line_count);
system->unprotect ();
}
-
-vector<vsize>
+void
Paper_score::find_break_indices () const
{
- vector<Grob*> all = root_system ()->used_columns ();
- vector<vsize> retval;
+ cols_ = root_system ()->used_columns ();
+ break_indices_.clear ();
+ break_ranks_.clear ();
- for (vsize i = 0; i < all.size (); i++)
+ for (vsize i = 0; i < cols_.size (); i++)
{
- Item *it = dynamic_cast<Item*> (all[i]);
- if (Paper_column::is_breakable (all[i])
+ Item *it = dynamic_cast<Item*> (cols_[i]);
+ if (Paper_column::is_breakable (cols_[i])
&& (i == 0 || it->find_prebroken_piece (LEFT))
- && (i == all.size () - 1 || it->find_prebroken_piece (RIGHT)))
- retval.push_back (i);
+ && (i == cols_.size () - 1 || it->find_prebroken_piece (RIGHT)))
+ {
+ break_indices_.push_back (i);
+ break_ranks_.push_back (it->get_column ()->get_rank ());
+ }
}
-
- cols_ = all;
- break_indices_ = retval;
-
- return retval;
}
vector<vsize>
return cols_;
}
+vector<vsize>
+Paper_score::get_break_ranks () const
+{
+ if (break_ranks_.empty ())
+ find_break_indices ();
+ return break_ranks_;
+}
+
vector<Column_x_positions>
Paper_score::calc_breaking ()
{
set_context (two);
second_iter_ = unsmob_iterator (get_iterator (unsmob_music (scm_cadr (lst))));
+
+ /* Mimic all settings of voiceOne/voiceTwo for the two separate voices...*/
+ /* FIXME: Is there any way to use the definition of \voiceOne/\voiceTwo
+ directly??? */
char const *syms[]
= {
"Stem",
execute_pushpop_property (two, sym,
ly_symbol2scm ("direction"), scm_from_int (-1));
}
+ /* Handle horizontal shifts for crossing notes */
+ execute_pushpop_property (one, ly_symbol2scm ("NoteColumn"),
+ ly_symbol2scm ("horizontal-shift"), scm_from_int (0));
+ execute_pushpop_property (two, ly_symbol2scm ("NoteColumn"),
+ ly_symbol2scm ("horizontal-shift"), scm_from_int (1));
+ /* Also handle MultiMeasureRest positions for voice 1/2 */
+ execute_pushpop_property (one, ly_symbol2scm ("MultiMeasureRest"),
+ ly_symbol2scm ("staff-position"), scm_from_int (4));
+ execute_pushpop_property (two, ly_symbol2scm ("MultiMeasureRest"),
+ ly_symbol2scm ("staff-position"), scm_from_int (-4));
+
}
IMPLEMENT_LISTENER (Part_combine_iterator, set_busy);
--- /dev/null
+/*
+ This file is part of LilyPond, the GNU music typesetter.
+
+ Copyright (C) 2010 Neil Puttock <n.puttock@gmail.com>
+
+ LilyPond is free software: you can redistribute it and/or modify
+ it under the terms of the GNU General Public License as published by
+ the Free Software Foundation, either version 3 of the License, or
+ (at your option) any later version.
+
+ LilyPond is distributed in the hope that it will be useful,
+ but WITHOUT ANY WARRANTY; without even the implied warranty of
+ MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+ GNU General Public License for more details.
+
+ You should have received a copy of the GNU General Public License
+ along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
+*/
+
+#include "context.hh"
+#include "input.hh"
+#include "international.hh"
+#include "moment.hh"
+#include "music.hh"
+#include "simple-music-iterator.hh"
+
+class Partial_iterator : public Simple_music_iterator
+{
+public:
+ DECLARE_SCHEME_CALLBACK (constructor, ());
+ protected:
+ virtual void process (Moment);
+};
+
+void
+Partial_iterator::process (Moment m)
+{
+ if (Duration *dur
+ = unsmob_duration (get_music ()->get_property ("partial-duration")))
+ {
+ Context *ctx = get_outlet ();
+ Moment now = ctx->now_mom ();
+ if (now.main_part_ > Rational (0))
+ get_music ()->origin ()->
+ warning (_ ("trying to use \\partial after the start of a piece"));
+ Moment length = Moment (dur->get_length ());
+ now = Moment (0, now.grace_part_);
+ ctx->set_property ("measurePosition", (now - length).smobbed_copy ());
+ }
+ else
+ programming_error ("invalid duration in \\partial");
+
+ Simple_music_iterator::process (m);
+}
+
+IMPLEMENT_CTOR_CALLBACK (Partial_iterator);
*/
#include "context.hh"
+#include "performer.hh"
#include "performer-group.hh"
#include "warn.hh"
get_daddy_performer ()->announce_element (i);
}
+
+Performer *
+unsmob_performer (SCM perf)
+{
+ return dynamic_cast<Performer *> (unsmob_translator (perf));
+}
#include "context-def.hh"
#include "context.hh"
#include "dispatcher.hh"
+#include "engraver.hh"
#include "engraver-group.hh"
#include "international.hh"
#include "main.hh"
#include "music.hh"
#include "output-def.hh"
+#include "performer.hh"
#include "performer-group.hh"
#include "scheme-engraver.hh"
#include "scm-hash.hh"
if (context_)
{
programming_error ("translator group is already connected to context "
- + context_->context_name ());
+ + context_->context_name ());
}
context_ = c;
{
}
+/*
+ Both filter_performers and filter_engravers used to use a direct dynamic_cast
+ on the unsmobbed translator to be filtered, i.e.,
+
+ if (dynamic_cast<Performer *> (unsmob_translator (scm_car (*tail))))
+
+ but this caused mysterious optimisation issues in several GUB builds. See
+ issue #818 for the background to this change.
+*/
SCM
filter_performers (SCM ell)
{
SCM *tail = ℓ
for (SCM p = ell; scm_is_pair (p); p = scm_cdr (p))
{
- if (dynamic_cast<Performer *> (unsmob_translator (scm_car (*tail))))
+ if (unsmob_performer (scm_car (*tail)))
*tail = scm_cdr (*tail);
else
tail = SCM_CDRLOC (*tail);
SCM *tail = ℓ
for (SCM p = ell; scm_is_pair (p); p = scm_cdr (p))
{
- if (dynamic_cast<Engraver *> (unsmob_translator (scm_car (*tail))))
+ if (unsmob_engraver (scm_car (*tail)))
*tail = scm_cdr (*tail);
else
tail = SCM_CDRLOC (*tail);
%% default note names are dutch
\include "nederlands.ly"
-\include "drumpitch-init.ly"
+\include "drumpitch-init.ly"
\include "chord-modifiers-init.ly"
\include "script-init.ly"
%
% Code articulation definitions
%
-noBeam = #(make-music 'BeamForbidEvent)
+noBeam = #(make-music 'BeamForbidEvent)
pipeSymbol = #(make-music 'BarCheck)
bracketOpenSymbol = #(make-span-event 'BeamEvent START)
bracketCloseSymbol = #(make-span-event 'BeamEvent STOP)
escapedSmallerSymbol = #(make-span-event 'CrescendoEvent START)
-#(define fretboard-table (make-hash-table 100))
+#(define default-fret-table (make-hash-table 100))
#(define chord-shape-table (make-hash-table 100))
\include "scale-definitions-init.ly"
laissezVibrer = #(make-music 'LaissezVibrerEvent)
repeatTie = #(make-music 'RepeatTieEvent)
-
+
\include "grace-init.ly"
\include "midi-init.ly"
\include "paper-defaults-init.ly"
in = #(* 25.4 mm)
pt = #(/ in 72.27)
cm = #(* 10 mm)
-
+
\include "engraver-init.ly"
#(set-paper-dimension-variables (current-module))
\consists "Font_size_engraver"
\consists "Instrument_name_engraver"
- predefinedDiagramTable = #fretboard-table
+ predefinedDiagramTable = #default-fret-table
}
\context {
(make-part-combine-music parser
(list part1 part2)))
+#(define (symbol-or-boolean? x) (or (symbol? x) (boolean? x)))
+partcombineForce =
+#(define-music-function (location parser type once) (symbol-or-boolean? boolean?)
+ (_i "Override the part-combiner.")
+ (make-music 'EventChord
+ 'elements (list (make-music 'PartCombineForceEvent
+ 'forced-type type
+ 'once once))))
+partcombineApart = \partcombineForce #'apart ##f
+partcombineApartOnce = \partcombineForce #'apart ##t
+partcombineChords = \partcombineForce #'chords ##f
+partcombineChordsOnce = \partcombineForce #'chords ##t
+partcombineUnisono = \partcombineForce #'unisono ##f
+partcombineUnisonoOnce = \partcombineForce #'unisono ##t
+partcombineSoloI = \partcombineForce #'solo1 ##f
+partcombineSoloIOnce = \partcombineForce #'solo1 ##t
+partcombineSoloII = \partcombineForce #'solo2 ##f
+partcombineSoloIIOnce = \partcombineForce #'solo2 ##t
+partcombineAutomatic = \partcombineForce ##f ##f
+partcombineAutomaticOnce = \partcombineForce ##f ##t
+
+
pitchedTrill =
#(define-music-function
(parser location main-note secondary-note)
% fretboard-table
storePredefinedDiagram =
-#(define-music-function (parser location chord tuning diagram-definition)
- (ly:music? pair? string-or-pair?)
+#(define-music-function (parser location
+ fretboard-table chord tuning diagram-definition)
+ (hash-table? ly:music? pair? string-or-pair?)
(_i "Add predefined fret diagram defined by @var{diagram-definition}
for the chord pitches @var{chord} and the stringTuning @var{tuning}.")
- (let* ((pitches (event-chord-pitches
+ (let* ((pitches (event-chord-pitches
(car (extract-named-music chord 'EventChord))))
(hash-key (cons tuning pitches))
(verbose-definition (if (string? diagram-definition)
(parse-terse-string diagram-definition)
diagram-definition)))
- (hash-set! fretboard-table
- hash-key
- verbose-definition))
- (make-music 'SequentialMusic 'void #t))
+ (hash-set! fretboard-table
+ hash-key
+ verbose-definition)
+ (make-music 'SequentialMusic 'void #t)))
%%% Add basic chordshapes
-\version "2.12.0"
+\version "2.13.36"
\addChordShape #'f #guitar-tuning #"1-1-(;3-3;3-4;2-2;1-1;1-1-);"
\addChordShape #'f:m #guitar-tuning #"1-1-(;3-3;3-4;1-1;1-1;1-1-);"
%%%% c chords
%
-\storePredefinedDiagram \chordmode {c}
+\storePredefinedDiagram #default-fret-table \chordmode {c}
#guitar-tuning
#"x;3-3;2-2;o;1-1;o;"
-\storePredefinedDiagram \chordmode {c:m}
+\storePredefinedDiagram #default-fret-table \chordmode {c:m}
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes:m guitar-tuning))
-\storePredefinedDiagram \chordmode {c:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {c:aug}
#guitar-tuning
#(chord-shape 'c:aug guitar-tuning)
-\storePredefinedDiagram \chordmode {c:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {c:dim}
#guitar-tuning
#(chord-shape 'c:dim guitar-tuning)
-\storePredefinedDiagram \chordmode {c:7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:7}
#guitar-tuning
#"o;3-3;2-2;3-4;1-1;o;"
-\storePredefinedDiagram \chordmode {c:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:maj7}
#guitar-tuning
#"x;3-3;2-2;o;o;o;"
-\storePredefinedDiagram \chordmode {c:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:m7}
#guitar-tuning
#(offset-fret 2 (chord-shape 'bes:m7 guitar-tuning))
%%%% cis chords
%
-\storePredefinedDiagram \chordmode {cis}
+\storePredefinedDiagram #default-fret-table \chordmode {cis}
#guitar-tuning
#(chord-shape 'cis guitar-tuning)
-\storePredefinedDiagram \chordmode {cis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:m}
#guitar-tuning
#"x;x;2-2;1-1;2-3;o;"
-\storePredefinedDiagram \chordmode {cis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:aug}
#guitar-tuning
#"x;4-4;3-3;2-1;2-2;x;"
-\storePredefinedDiagram \chordmode {cis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'c:dim guitar-tuning))
-\storePredefinedDiagram \chordmode {cis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:7}
#guitar-tuning
#"x;x;3-2;4-3;2-1;4-4;"
-\storePredefinedDiagram \chordmode {cis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:maj7}
#guitar-tuning
#"x;4-4;3-3;1-1-(;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {cis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:m7}
#guitar-tuning
#"x;4-4;2-2;1-1;o;o;"
%%%% des chords
%
-\storePredefinedDiagram \chordmode {des}
+\storePredefinedDiagram #default-fret-table \chordmode {des}
#guitar-tuning
#"x;x;3-3;1-1-(;2-2;1-1-);"
-\storePredefinedDiagram \chordmode {des:m}
+\storePredefinedDiagram #default-fret-table \chordmode {des:m}
#guitar-tuning
#"x;x;2-2;1-1;2-3;o;"
-\storePredefinedDiagram \chordmode {des:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {des:aug}
#guitar-tuning
#"x;4-4;3-3;2-1;2-2;x;"
-\storePredefinedDiagram \chordmode {des:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {des:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'c:dim guitar-tuning))
-\storePredefinedDiagram \chordmode {des:7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:7}
#guitar-tuning
#"x;x;3-2;4-3;2-1;4-4;"
-\storePredefinedDiagram \chordmode {des:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:maj7}
#guitar-tuning
#"x;4-4;3-3;1-1-(;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {des:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:m7}
#guitar-tuning
#"x;4-4;2-2;1-1;o;o;"
%%%% d chords
%
-\storePredefinedDiagram \chordmode {d}
+\storePredefinedDiagram #default-fret-table \chordmode {d}
#guitar-tuning
#"x;x;o;2-1;3-3;2-2;"
-\storePredefinedDiagram \chordmode {d:m}
+\storePredefinedDiagram #default-fret-table \chordmode {d:m}
#guitar-tuning
#"x;x;o;2-2;3-3;1-1;"
-\storePredefinedDiagram \chordmode {d:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {d:aug}
#guitar-tuning
#"x;x;o;3-2;3-3;2-1;"
-\storePredefinedDiagram \chordmode {d:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {d:dim}
#guitar-tuning
#"x;x;o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {d:7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:7}
#guitar-tuning
#"x;x;o;2-2;1-1;2-3;"
-\storePredefinedDiagram \chordmode {d:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:maj7}
#guitar-tuning
#"x;x;o;2-1;2-2;2-3;"
-\storePredefinedDiagram \chordmode {d:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:m7}
#guitar-tuning
#"x;x;o;2-2;1-1-(;1-1-);"
%%%% dis chords
%
-\storePredefinedDiagram \chordmode {dis}
+\storePredefinedDiagram #default-fret-table \chordmode {dis}
#guitar-tuning
#(offset-fret 2 (chord-shape 'cis guitar-tuning))
-\storePredefinedDiagram \chordmode {dis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:m}
#guitar-tuning
#"x;x;4-3;3-2;4-4;1-1;"
-\storePredefinedDiagram \chordmode {dis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:aug}
#guitar-tuning
#"3-3;2-2;1-1;o;o;3-4"
-\storePredefinedDiagram \chordmode {dis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:dim}
#guitar-tuning
#(chord-shape 'ees:dim guitar-tuning)
-\storePredefinedDiagram \chordmode {dis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:7}
#guitar-tuning
#"x;x;1-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {dis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:maj7}
#guitar-tuning
#"x;x;1-1;3-2;3-3;3-4;"
-\storePredefinedDiagram \chordmode {dis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:m7}
#guitar-tuning
#"x;x;1-1;3-2;2-3;2-4;"
%%%% ees chords
%
-\storePredefinedDiagram \chordmode {ees}
+\storePredefinedDiagram #default-fret-table \chordmode {ees}
#guitar-tuning
#(offset-fret 2 (chord-shape 'cis guitar-tuning))
-\storePredefinedDiagram \chordmode {ees:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:m}
#guitar-tuning
#"x;x;4-3;3-2;4-4;1-1;"
-\storePredefinedDiagram \chordmode {ees:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:aug}
#guitar-tuning
#"3-3;2-2;1-1;o;o;3-4"
-\storePredefinedDiagram \chordmode {ees:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:dim}
#guitar-tuning
#(chord-shape 'ees:dim guitar-tuning)
-\storePredefinedDiagram \chordmode {ees:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:7}
#guitar-tuning
#"x;x;1-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {ees:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:maj7}
#guitar-tuning
#"x;x;1-1;3-2;3-3;3-4;"
-\storePredefinedDiagram \chordmode {ees:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:m7}
#guitar-tuning
#"x;x;1-1;3-2;2-3;2-4;"
%%%% e chords
%
-\storePredefinedDiagram \chordmode {e}
+\storePredefinedDiagram #default-fret-table \chordmode {e}
#guitar-tuning
#"o;2-2;2-3;1-1;o;o;"
-\storePredefinedDiagram \chordmode {e:m}
+\storePredefinedDiagram #default-fret-table \chordmode {e:m}
#guitar-tuning
#"o;2-2;2-3;o;o;o;"
-\storePredefinedDiagram \chordmode {e:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {e:aug}
#guitar-tuning
#"o;3-3;2-2;1-1;x;x;"
-\storePredefinedDiagram \chordmode {e:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {e:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'ees:dim guitar-tuning))
-\storePredefinedDiagram \chordmode {e:7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:7}
#guitar-tuning
#"o;2-2;o;1-1;o;o;"
-\storePredefinedDiagram \chordmode {e:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:maj7}
#guitar-tuning
#"o;2-3;1-1;1-2;o;x;"
-\storePredefinedDiagram \chordmode {e:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:m7}
#guitar-tuning
#"o;2-2;o;o;o;o;"
%%%% f chords
%
-\storePredefinedDiagram \chordmode {f}
+\storePredefinedDiagram #default-fret-table \chordmode {f}
#guitar-tuning
#(chord-shape 'f guitar-tuning)
-\storePredefinedDiagram \chordmode {f:m}
+\storePredefinedDiagram #default-fret-table \chordmode {f:m}
#guitar-tuning
#(chord-shape 'f:m guitar-tuning)
-\storePredefinedDiagram \chordmode {f:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {f:aug}
#guitar-tuning
#"x;x;1-1;4-3;4-4;3-2;"
-\storePredefinedDiagram \chordmode {f:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {f:dim}
#guitar-tuning
#"x;x;o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {f:7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:7}
#guitar-tuning
#(chord-shape 'f:7 guitar-tuning)
-\storePredefinedDiagram \chordmode {f:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:maj7}
#guitar-tuning
#"x;x;3-3;2-2;1-1;o;"
-\storePredefinedDiagram \chordmode {f:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:m7}
#guitar-tuning
#(chord-shape 'f:m7 guitar-tuning)
%%%% fis chords
%
-\storePredefinedDiagram \chordmode {fis}
+\storePredefinedDiagram #default-fret-table \chordmode {fis}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f guitar-tuning))
-\storePredefinedDiagram \chordmode {fis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:m}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:m guitar-tuning))
-\storePredefinedDiagram \chordmode {fis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:aug}
#guitar-tuning
#"2-2;1-1;o;3-4-(;3-4-);2-3;"
-\storePredefinedDiagram \chordmode {fis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:dim}
#guitar-tuning
#"x;x;1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {fis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:7 guitar-tuning))
-\storePredefinedDiagram \chordmode {fis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:maj7}
#guitar-tuning
#"x;x;4-4;3-3;2-2;1-1;"
-\storePredefinedDiagram \chordmode {fis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:m7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:m7 guitar-tuning))
%%%% ges chords
%
-\storePredefinedDiagram \chordmode {ges}
+\storePredefinedDiagram #default-fret-table \chordmode {ges}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f guitar-tuning))
-\storePredefinedDiagram \chordmode {ges:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:m}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:m guitar-tuning))
-\storePredefinedDiagram \chordmode {ges:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:aug}
#guitar-tuning
#"2-2;1-1;o;3-4-(;3-4-);2-3;"
-\storePredefinedDiagram \chordmode {ges:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:dim}
#guitar-tuning
#"x;x;1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {ges:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:7 guitar-tuning))
-\storePredefinedDiagram \chordmode {ges:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:maj7}
#guitar-tuning
#"x;x;4-4;3-3;2-2;1-1;"
-\storePredefinedDiagram \chordmode {ges:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:m7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:m7 guitar-tuning))
%%%% g chords
%
-\storePredefinedDiagram \chordmode {g}
+\storePredefinedDiagram #default-fret-table \chordmode {g}
#guitar-tuning
#"3-2;2-1;o;o;o;3-3;"
-\storePredefinedDiagram \chordmode {g:m}
+\storePredefinedDiagram #default-fret-table \chordmode {g:m}
#guitar-tuning
#(offset-fret 2 (chord-shape 'f:m guitar-tuning))
-\storePredefinedDiagram \chordmode {g:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {g:aug}
#guitar-tuning
#"x;x;5-1;8-3;8-4;7-2;"
-\storePredefinedDiagram \chordmode {g:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {g:dim}
#guitar-tuning
#"x;x;5-2;6-4;5-3;3-1;"
-\storePredefinedDiagram \chordmode {g:7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:7}
#guitar-tuning
#"3-3;2-2;o;o;o;1-1;"
-\storePredefinedDiagram \chordmode {g:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:maj7}
#guitar-tuning
#"x;x;5-4;4-3;3-2;2-1;"
-\storePredefinedDiagram \chordmode {g:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:m7}
#guitar-tuning
#(offset-fret 2 (chord-shape 'f:m7 guitar-tuning))
%%%% gis chords
%
-\storePredefinedDiagram \chordmode {gis}
+\storePredefinedDiagram #default-fret-table \chordmode {gis}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f guitar-tuning))
-\storePredefinedDiagram \chordmode {gis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:m}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:m guitar-tuning))
-\storePredefinedDiagram \chordmode {gis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:aug}
#guitar-tuning
#"o;3-4;2-3;1-1;1-2;o;"
-\storePredefinedDiagram \chordmode {gis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:dim}
#guitar-tuning
#"x;x;o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {gis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:7}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:7 guitar-tuning))
-\storePredefinedDiagram \chordmode {gis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:maj7}
#guitar-tuning
#"x;x;1-1-(;1-1;1-1-);3-3;"
-\storePredefinedDiagram \chordmode {gis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:m7}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:m7 guitar-tuning))
%%%% aes chords
%
-\storePredefinedDiagram \chordmode {aes}
+\storePredefinedDiagram #default-fret-table \chordmode {aes}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f guitar-tuning))
-\storePredefinedDiagram \chordmode {aes:m}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:m}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:m guitar-tuning))
-\storePredefinedDiagram \chordmode {aes:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:aug}
#guitar-tuning
#"o;3-4;2-3;1-1;1-2;o;"
-\storePredefinedDiagram \chordmode {aes:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:dim}
#guitar-tuning
#"x;x;o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {aes:7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:7}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:7 guitar-tuning))
-\storePredefinedDiagram \chordmode {aes:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:maj7}
#guitar-tuning
#"x;x;1-1-(;1-1;1-1-);3-3;"
-\storePredefinedDiagram \chordmode {aes:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:m7}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:m7 guitar-tuning))
%%%% a chords
%
-\storePredefinedDiagram \chordmode {a}
+\storePredefinedDiagram #default-fret-table \chordmode {a}
#guitar-tuning
#"x;o;2-1;2-2;2-3;o;"
-\storePredefinedDiagram \chordmode {a:m}
+\storePredefinedDiagram #default-fret-table \chordmode {a:m}
#guitar-tuning
#"x;o;2-2;2-3;1-1;o;"
-\storePredefinedDiagram \chordmode {a:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {a:aug}
#guitar-tuning
#"x;o;3-4;2-2;2-3;1-1;"
-\storePredefinedDiagram \chordmode {a:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {a:dim}
#guitar-tuning
#(chord-shape 'a:dim guitar-tuning)
-\storePredefinedDiagram \chordmode {a:7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:7}
#guitar-tuning
#"x;o;2-1;o;2-3;o;"
-\storePredefinedDiagram \chordmode {a:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:maj7}
#guitar-tuning
#"x;o;2-2;1-1;2-3;o;"
-\storePredefinedDiagram \chordmode {a:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:m7}
#guitar-tuning
#"x;o;2-2;o;1-1;o;"
%%%% ais chords
%
-\storePredefinedDiagram \chordmode {ais}
+\storePredefinedDiagram #default-fret-table \chordmode {ais}
#guitar-tuning
#(chord-shape 'bes guitar-tuning)
-\storePredefinedDiagram \chordmode {ais:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:m}
#guitar-tuning
#(chord-shape 'bes:m guitar-tuning)
-\storePredefinedDiagram \chordmode {ais:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:aug}
#guitar-tuning
#"2-2;1-1;o;3-4-(;3-4-);2-3;"
-\storePredefinedDiagram \chordmode {ais:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'a:dim guitar-tuning))
-\storePredefinedDiagram \chordmode {ais:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:7}
#guitar-tuning
#(chord-shape 'bes:7 guitar-tuning)
-\storePredefinedDiagram \chordmode {ais:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:maj7}
#guitar-tuning
#"x;1-1;3-3;2-2;3-4;x;"
-\storePredefinedDiagram \chordmode {ais:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:m7}
#guitar-tuning
#(chord-shape 'bes:m7 guitar-tuning)
%%%% bes chords
%
-\storePredefinedDiagram \chordmode {bes}
+\storePredefinedDiagram #default-fret-table \chordmode {bes}
#guitar-tuning
#(chord-shape 'bes guitar-tuning)
-\storePredefinedDiagram \chordmode {bes:m}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:m}
#guitar-tuning
#(chord-shape 'bes:m guitar-tuning)
-\storePredefinedDiagram \chordmode {bes:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:aug}
#guitar-tuning
#"2-2;1-1;o;3-4-(;3-4-);2-3;"
-\storePredefinedDiagram \chordmode {bes:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'a:dim guitar-tuning))
-\storePredefinedDiagram \chordmode {bes:7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:7}
#guitar-tuning
#(chord-shape 'bes:7 guitar-tuning)
-\storePredefinedDiagram \chordmode {bes:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:maj7}
#guitar-tuning
#"x;1-1;3-3;2-2;3-4;x;"
-\storePredefinedDiagram \chordmode {bes:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:m7}
#guitar-tuning
#(chord-shape 'bes:m7 guitar-tuning)
%%%% b chords
%
-\storePredefinedDiagram \chordmode {b}
+\storePredefinedDiagram #default-fret-table \chordmode {b}
#guitar-tuning
#(offset-fret 1 (chord-shape 'bes guitar-tuning))
-\storePredefinedDiagram \chordmode {b:m}
+\storePredefinedDiagram #default-fret-table \chordmode {b:m}
#guitar-tuning
#(offset-fret 1 (chord-shape 'bes:m guitar-tuning))
-\storePredefinedDiagram \chordmode {b:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {b:aug}
#guitar-tuning
#"x;3-2;2-1;o;o;x;"
-\storePredefinedDiagram \chordmode {b:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {b:dim}
#guitar-tuning
#"x;x;o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {b:7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'bes:7 guitar-tuning))
-\storePredefinedDiagram \chordmode {b:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:maj7}
#guitar-tuning
#"x;2-1;4-3;3-2;4-4;x;"
-\storePredefinedDiagram \chordmode {b:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:m7}
#guitar-tuning
#(offset-fret 1 (chord-shape 'bes:m7 guitar-tuning))
%%%% You should have received a copy of the GNU General Public License
%%%% along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
-\version "2.12.0"
+\version "2.13.36"
% Add ninth chords to predefined fret diagrams for standard guitar tunings
\addChordShape #'c:9 #guitar-tuning #"x;3-2;2-1;3-3-(;3-3;3-3-);"
\addChordShape #'f:9 #guitar-tuning #"1-1-(;3-3;1-1;2-2;1-1-);3-4;"
-\storePredefinedDiagram \chordmode {c:9}
+\storePredefinedDiagram #default-fret-table \chordmode {c:9}
#guitar-tuning
#(chord-shape 'c:9 guitar-tuning)
-\storePredefinedDiagram \chordmode {cis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:9}
#guitar-tuning
#(offset-fret 1 (chord-shape 'c:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {des:9}
+\storePredefinedDiagram #default-fret-table \chordmode {des:9}
#guitar-tuning
#(offset-fret 1 (chord-shape 'c:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {d:9}
+\storePredefinedDiagram #default-fret-table \chordmode {d:9}
#guitar-tuning
#(offset-fret 2 (chord-shape 'c:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {dis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:9}
#guitar-tuning
#(offset-fret 3 (chord-shape 'c:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {ees:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:9}
#guitar-tuning
#(offset-fret 3 (chord-shape 'c:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {e:9}
+\storePredefinedDiagram #default-fret-table \chordmode {e:9}
#guitar-tuning
#"o;2-2;o;1-1;o;2-3;"
-\storePredefinedDiagram \chordmode {f:9}
+\storePredefinedDiagram #default-fret-table \chordmode {f:9}
#guitar-tuning
#(chord-shape 'f:9 guitar-tuning)
-\storePredefinedDiagram \chordmode {fis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:9}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {ges:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:9}
#guitar-tuning
#(offset-fret 1 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {g:9}
+\storePredefinedDiagram #default-fret-table \chordmode {g:9}
#guitar-tuning
#(offset-fret 2 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {gis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:9}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {aes:9}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:9}
#guitar-tuning
#(offset-fret 3 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {a:9}
+\storePredefinedDiagram #default-fret-table \chordmode {a:9}
#guitar-tuning
#(offset-fret 4 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {ais:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:9}
#guitar-tuning
#(offset-fret 5 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {bes:9}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:9}
#guitar-tuning
#(offset-fret 5 (chord-shape 'f:9 guitar-tuning))
-\storePredefinedDiagram \chordmode {b:9}
+\storePredefinedDiagram #default-fret-table \chordmode {b:9}
#guitar-tuning
#(offset-fret -1 (chord-shape 'c:9 guitar-tuning))
%%%% You should have received a copy of the GNU General Public License
%%%% along with LilyPond. If not, see <http://www.gnu.org/licenses/>.
-\version "2.13.9"
+\version "2.13.36"
%%%% sources:
%%%% ukulele hall of fame museum website (http://www.ukulele.org/),
%%% a chords
-\storePredefinedDiagram \chordmode {a}
+\storePredefinedDiagram #default-fret-table \chordmode {a}
#ukulele-tuning
#"2-2;1-1;o;o;"
-\storePredefinedDiagram \chordmode {a:m}
+\storePredefinedDiagram #default-fret-table \chordmode {a:m}
#ukulele-tuning
#"2-1;o;o;o;"
-\storePredefinedDiagram \chordmode {a:7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:7}
#ukulele-tuning
#"o;1-1;o;o;"
-\storePredefinedDiagram \chordmode {a:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:m7}
#ukulele-tuning
#"o;o;o;o;"
-\storePredefinedDiagram \chordmode {a:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {a:dim}
#ukulele-tuning
#"2-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {a:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {a:maj7}
#ukulele-tuning
#"1-1;1-2;o;o;"
-\storePredefinedDiagram \chordmode {a:6}
+\storePredefinedDiagram #default-fret-table \chordmode {a:6}
#ukulele-tuning
#"2-1;4-3;2-2;4-4;"
-\storePredefinedDiagram \chordmode {a:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {a:sus2}
#ukulele-tuning
#"2-2;4-3;5-4;2-1;"
-\storePredefinedDiagram \chordmode {a:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {a:sus4}
#ukulele-tuning
#"2-1;2-2;o;o;"
-\storePredefinedDiagram \chordmode {a:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {a:aug}
#ukulele-tuning
#"2-2;1-1-(;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {a:9}
+\storePredefinedDiagram #default-fret-table \chordmode {a:9}
#ukulele-tuning
#"o;1-1;o;2-2;"
%%% ais chords
-\storePredefinedDiagram \chordmode {ais}
+\storePredefinedDiagram #default-fret-table \chordmode {ais}
#ukulele-tuning
#"3-3;2-2;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ais:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:m}
#ukulele-tuning
#"3-3;1-1-(;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {ais:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:7}
#ukulele-tuning
#"1-1-(;2-2;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {ais:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:m7}
#ukulele-tuning
#"1-1-(;1-1;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {ais:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {ais:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:maj7}
#ukulele-tuning
#"2-2-(;2-2-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ais:6}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:6}
#ukulele-tuning
#"o;2-2;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ais:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:sus2}
#ukulele-tuning
#"3-3;o;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ais:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:sus4}
#ukulele-tuning
#"3-3-(;3-3-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ais:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:aug}
#ukulele-tuning
#"3-2;1-1-(;1-1-);5-4;"
-\storePredefinedDiagram \chordmode {ais:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ais:9}
#ukulele-tuning
#"1-1-(;2-2;1-1-);3-3;"
%%% bes chords
-\storePredefinedDiagram \chordmode {bes}
+\storePredefinedDiagram #default-fret-table \chordmode {bes}
#ukulele-tuning
#"3-3;2-2;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {bes:m}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:m}
#ukulele-tuning
#"3-3;1-1-(;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {bes:7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:7}
#ukulele-tuning
#"1-1-(;2-2;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {bes:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:m7}
#ukulele-tuning
#"1-1-(;1-1;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {bes:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {bes:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:maj7}
#ukulele-tuning
#"2-2-(;2-2-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {bes:6}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:6}
#ukulele-tuning
#"o;2-2;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {bes:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:sus2}
#ukulele-tuning
#"3-3;o;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {bes:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:sus4}
#ukulele-tuning
#"3-3-(;3-3-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {bes:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:aug}
#ukulele-tuning
#"3-2;1-1-(;1-1-);5-4;"
-\storePredefinedDiagram \chordmode {bes:9}
+\storePredefinedDiagram #default-fret-table \chordmode {bes:9}
#ukulele-tuning
#"1-1-(;2-2;1-1-);3-3;"
%%% b chords
-\storePredefinedDiagram \chordmode {b}
+\storePredefinedDiagram #default-fret-table \chordmode {b}
#ukulele-tuning
#"4-3;3-2;2-1-(;2-1-);"
-\storePredefinedDiagram \chordmode {b:m}
+\storePredefinedDiagram #default-fret-table \chordmode {b:m}
#ukulele-tuning
#"4-3;2-1-(;2-1;2-1-);"
-\storePredefinedDiagram \chordmode {b:7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:7}
#ukulele-tuning
#"2-1-(;3-2;2-1;2-1-);"
-\storePredefinedDiagram \chordmode {b:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:m7}
#ukulele-tuning
#"2-1-(;2-1;2-1;2-1-);"
-\storePredefinedDiagram \chordmode {b:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {b:dim}
#ukulele-tuning
#"1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {b:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {b:maj7}
#ukulele-tuning
#"3-2-(;3-2-);2-1-(;2-1-);"
-\storePredefinedDiagram \chordmode {b:6}
+\storePredefinedDiagram #default-fret-table \chordmode {b:6}
#ukulele-tuning
#"1-1;3-4;2-2;2-3;"
-\storePredefinedDiagram \chordmode {b:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {b:sus2}
#ukulele-tuning
#"5-4;1-1;2-3;2-2;"
-\storePredefinedDiagram \chordmode {b:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {b:sus4}
#ukulele-tuning
#"4-2-(;4-2-);2-1-(;2-1-);"
-\storePredefinedDiagram \chordmode {b:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {b:aug}
#ukulele-tuning
#"o;3-2-(;3-2-);2-1;"
-\storePredefinedDiagram \chordmode {b:9}
+\storePredefinedDiagram #default-fret-table \chordmode {b:9}
#ukulele-tuning
#"2-2-(;3-3;2-2-);4-4;"
%%% c chords
-\storePredefinedDiagram \chordmode {c}
+\storePredefinedDiagram #default-fret-table \chordmode {c}
#ukulele-tuning
#"o;o;o;3-3;"
-\storePredefinedDiagram \chordmode {c:m}
+\storePredefinedDiagram #default-fret-table \chordmode {c:m}
#ukulele-tuning
#"o;3-1;3-2;3-3;"
-\storePredefinedDiagram \chordmode {c:7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:7}
#ukulele-tuning
#"o;o;o;1-1;"
-\storePredefinedDiagram \chordmode {c:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:m7}
#ukulele-tuning
#"3-1-(;3-1;3-1;3-1-);"
-\storePredefinedDiagram \chordmode {c:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {c:dim}
#ukulele-tuning
#"2-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {c:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {c:maj7}
#ukulele-tuning
#"o;o;o;2-1;"
-\storePredefinedDiagram \chordmode {c:6}
+\storePredefinedDiagram #default-fret-table \chordmode {c:6}
#ukulele-tuning
#"o;o;o;o;"
-\storePredefinedDiagram \chordmode {c:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {c:sus2}
#ukulele-tuning
#"o;2-1;3-2-(;3-2-);"
-\storePredefinedDiagram \chordmode {c:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {c:sus4}
#ukulele-tuning
#"o;o;1-1;3-3;"
-\storePredefinedDiagram \chordmode {c:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {c:aug}
#ukulele-tuning
#"1-1;o;o;3-4;"
-\storePredefinedDiagram \chordmode {c:9}
+\storePredefinedDiagram #default-fret-table \chordmode {c:9}
#ukulele-tuning
#"o;2-2;o;1-1;"
%%% cis chords
-\storePredefinedDiagram \chordmode {cis}
+\storePredefinedDiagram #default-fret-table \chordmode {cis}
#ukulele-tuning
#"1-1-(;1-1;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {cis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:m}
#ukulele-tuning
#"1-1;4-2;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {cis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:7}
#ukulele-tuning
#"1-1-(;1-1;1-1-);2-2;"
-\storePredefinedDiagram \chordmode {cis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:m7}
#ukulele-tuning
#"2-2-(;2-2-);1-1;3-3;"
-\storePredefinedDiagram \chordmode {cis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {cis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:maj7}
#ukulele-tuning
#"1-1-(;1-1;1-1-);3-3;"
-\storePredefinedDiagram \chordmode {cis:6}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:6}
#ukulele-tuning
#"1-1-(;1-1;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {cis:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:sus2}
#ukulele-tuning
#"1-1;3-2;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {cis:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:sus4}
#ukulele-tuning
#"1-1-(;1-1-);2-2;4-4;"
-\storePredefinedDiagram \chordmode {cis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:aug}
#ukulele-tuning
#"2-2;1-1-(;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {cis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {cis:9}
#ukulele-tuning
#"1-1-(;3-3;1-1-);2-2;"
%%% des chords
-\storePredefinedDiagram \chordmode {des}
+\storePredefinedDiagram #default-fret-table \chordmode {des}
#ukulele-tuning
#"1-1-(;1-1;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {des:m}
+\storePredefinedDiagram #default-fret-table \chordmode {des:m}
#ukulele-tuning
#"1-1;4-2;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {des:7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:7}
#ukulele-tuning
#"1-1-(;1-1;1-1-);2-2;"
-\storePredefinedDiagram \chordmode {des:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:m7}
#ukulele-tuning
#"2-2-(;2-2-);1-1;3-3;"
-\storePredefinedDiagram \chordmode {des:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {des:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {des:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {des:maj7}
#ukulele-tuning
#"1-1-(;1-1;1-1-);3-3;"
-\storePredefinedDiagram \chordmode {des:6}
+\storePredefinedDiagram #default-fret-table \chordmode {des:6}
#ukulele-tuning
#"1-1-(;1-1;1-1;1-1-);"
-\storePredefinedDiagram \chordmode {des:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {des:sus2}
#ukulele-tuning
#"1-1;3-2;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {des:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {des:sus4}
#ukulele-tuning
#"1-1-(;1-1-);2-2;4-4;"
-\storePredefinedDiagram \chordmode {des:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {des:aug}
#ukulele-tuning
#"2-2;1-1-(;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {des:9}
+\storePredefinedDiagram #default-fret-table \chordmode {des:9}
#ukulele-tuning
#"1-1-(;3-3;1-1-);2-2;"
%%% d chords
-\storePredefinedDiagram \chordmode {d}
+\storePredefinedDiagram #default-fret-table \chordmode {d}
#ukulele-tuning
#"2-1;2-2;2-3;o;"
-\storePredefinedDiagram \chordmode {d:m}
+\storePredefinedDiagram #default-fret-table \chordmode {d:m}
#ukulele-tuning
#"2-2-(;2-2-);1-1;o;"
-\storePredefinedDiagram \chordmode {d:7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:7}
#ukulele-tuning
#"2-1-(;2-1;2-1-);3-2;"
-\storePredefinedDiagram \chordmode {d:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:m7}
#ukulele-tuning
#"2-2-(;2-2-);1-1;3-3;"
-\storePredefinedDiagram \chordmode {d:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {d:dim}
#ukulele-tuning
#"1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {d:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {d:maj7}
#ukulele-tuning
#"2-1-(;2-1;2-1-);4-3;"
-\storePredefinedDiagram \chordmode {d:6}
+\storePredefinedDiagram #default-fret-table \chordmode {d:6}
#ukulele-tuning
#"2-1-(;2-1;2-1;2-1-);"
-\storePredefinedDiagram \chordmode {d:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {d:sus2}
#ukulele-tuning
#"2-1;2-2;o;o;"
-\storePredefinedDiagram \chordmode {d:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {d:sus4}
#ukulele-tuning
#"o;2-1;3-2;o;"
-\storePredefinedDiagram \chordmode {d:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {d:aug}
#ukulele-tuning
#"3-2;2-1-(;2-1-);5-4;"
-\storePredefinedDiagram \chordmode {d:9}
+\storePredefinedDiagram #default-fret-table \chordmode {d:9}
#ukulele-tuning
#"2-1-(;4-3;2-1-);3-2;"
%%%% dis chords
-\storePredefinedDiagram \chordmode {dis}
+\storePredefinedDiagram #default-fret-table \chordmode {dis}
#ukulele-tuning
#"o;3-2-(;3-2-);1-1;"
-\storePredefinedDiagram \chordmode {dis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:m}
#ukulele-tuning
#"3-3-(;3-3-);2-2;1-1;"
-\storePredefinedDiagram \chordmode {dis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:7}
#ukulele-tuning
#"3-1-(;3-1;3-1-);4-2;"
-\storePredefinedDiagram \chordmode {dis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:m7}
#ukulele-tuning
#"3-2-(;3-2-);2-1;4-4;"
-\storePredefinedDiagram \chordmode {dis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:dim}
#ukulele-tuning
#"2-1;3-3;2-1;3-4;"
-\storePredefinedDiagram \chordmode {dis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:maj7}
#ukulele-tuning
#"3-1-(;3-2;3-1-);5-2;"
-\storePredefinedDiagram \chordmode {dis:6}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:6}
#ukulele-tuning
#"3-1-(;3-1;3-1;3-1-);"
-\storePredefinedDiagram \chordmode {dis:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:sus2}
#ukulele-tuning
#"3-2-(;3-2-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {dis:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:sus4}
#ukulele-tuning
#"1-2;3-3;4-4;1-1;"
-\storePredefinedDiagram \chordmode {dis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:aug}
#ukulele-tuning
#"o;3-2-(;3-2-);2-1;"
-\storePredefinedDiagram \chordmode {dis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {dis:9}
#ukulele-tuning
#"o;1-1-(;1-1;1-1-);"
%%%% ees chords
-\storePredefinedDiagram \chordmode {ees}
+\storePredefinedDiagram #default-fret-table \chordmode {ees}
#ukulele-tuning
#"o;3-2-(;3-2-);1-1;"
-\storePredefinedDiagram \chordmode {ees:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:m}
#ukulele-tuning
#"3-3-(;3-3-);2-2;1-1;"
-\storePredefinedDiagram \chordmode {ees:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:7}
#ukulele-tuning
#"3-1-(;3-1;3-1-);4-2;"
-\storePredefinedDiagram \chordmode {ees:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:m7}
#ukulele-tuning
#"3-2-(;3-2-);2-1;4-4;"
-\storePredefinedDiagram \chordmode {ees:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:dim}
#ukulele-tuning
#"2-1;3-3;2-1;3-4;"
-\storePredefinedDiagram \chordmode {ees:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:maj7}
#ukulele-tuning
#"3-1-(;3-2;3-1-);5-2;"
-\storePredefinedDiagram \chordmode {ees:6}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:6}
#ukulele-tuning
#"3-1-(;3-1;3-1;3-1-);"
-\storePredefinedDiagram \chordmode {ees:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:sus2}
#ukulele-tuning
#"3-2-(;3-2-);1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {ees:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:sus4}
#ukulele-tuning
#"1-2;3-3;4-4;1-1;"
-\storePredefinedDiagram \chordmode {ees:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:aug}
#ukulele-tuning
#"o;3-2-(;3-2-);2-1;"
-\storePredefinedDiagram \chordmode {ees:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ees:9}
#ukulele-tuning
#"o;1-1-(;1-1;1-1-);"
%%%% e chords
-\storePredefinedDiagram \chordmode {e}
+\storePredefinedDiagram #default-fret-table \chordmode {e}
#ukulele-tuning
#"4-2;4-3;4-4;2-1;"
-\storePredefinedDiagram \chordmode {e:m}
+\storePredefinedDiagram #default-fret-table \chordmode {e:m}
#ukulele-tuning
#"4-3;4-3;3-2;2-1;"
-\storePredefinedDiagram \chordmode {e:7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:7}
#ukulele-tuning
#"1-1;2-2;o;2-3;"
-\storePredefinedDiagram \chordmode {e:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:m7}
#ukulele-tuning
#"o;2-1;o;2-2;"
-\storePredefinedDiagram \chordmode {e:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {e:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {e:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {e:maj7}
#ukulele-tuning
#"1-1;3-3;o;2-2;"
-\storePredefinedDiagram \chordmode {e:6}
+\storePredefinedDiagram #default-fret-table \chordmode {e:6}
#ukulele-tuning
#"4-1-(;4-1;4-1;4-1-);"
-\storePredefinedDiagram \chordmode {e:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {e:sus2}
#ukulele-tuning
#"4-3-(;4-3-);2-1-(;2-1-);"
-\storePredefinedDiagram \chordmode {e:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {e:sus4}
#ukulele-tuning
#"2-2;4-4;o;2-1;"
-\storePredefinedDiagram \chordmode {e:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {e:aug}
#ukulele-tuning
#"1-1;o;o;3-4;"
-\storePredefinedDiagram \chordmode {e:9}
+\storePredefinedDiagram #default-fret-table \chordmode {e:9}
#ukulele-tuning
#"1-1;2-2-(;2-2;2-2-);"
%%%% f chords
-\storePredefinedDiagram \chordmode {f}
+\storePredefinedDiagram #default-fret-table \chordmode {f}
#ukulele-tuning
#"2-2;o;1-1;o;"
-\storePredefinedDiagram \chordmode {f:m}
+\storePredefinedDiagram #default-fret-table \chordmode {f:m}
#ukulele-tuning
#"1-1;o;1-2;3-4;"
-\storePredefinedDiagram \chordmode {f:7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:7}
#ukulele-tuning
#"2-2;3-3;1-1;3-4;"
-\storePredefinedDiagram \chordmode {f:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:m7}
#ukulele-tuning
#"1-1;3-3;1-2;3-4;"
-\storePredefinedDiagram \chordmode {f:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {f:dim}
#ukulele-tuning
#"1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {f:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {f:maj7}
#ukulele-tuning
#"2-2;4-4;1-1;3-3;"
-\storePredefinedDiagram \chordmode {f:6}
+\storePredefinedDiagram #default-fret-table \chordmode {f:6}
#ukulele-tuning
#"2-2-(;2-2-);1-1;3-4;"
-\storePredefinedDiagram \chordmode {f:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {f:sus2}
#ukulele-tuning
#"o;o;1-1;3-3;"
-\storePredefinedDiagram \chordmode {f:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {f:sus4}
#ukulele-tuning
#"3-3;o;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {f:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {f:aug}
#ukulele-tuning
#"2-2;1-1-(;1-1-);4-4;"
-\storePredefinedDiagram \chordmode {f:9}
+\storePredefinedDiagram #default-fret-table \chordmode {f:9}
#ukulele-tuning
#"2-1;3-2-(;3-2;3-2-);"
%%%% fis chords
-\storePredefinedDiagram \chordmode {fis}
+\storePredefinedDiagram #default-fret-table \chordmode {fis}
#ukulele-tuning
#"3-3;1-1;2-2;1-1;"
-\storePredefinedDiagram \chordmode {fis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:m}
#ukulele-tuning
#"2-2;1-1;2-3;o;"
-\storePredefinedDiagram \chordmode {fis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:7}
#ukulele-tuning
#"3-3;4-4;2-2;1-1;"
-\storePredefinedDiagram \chordmode {fis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:m7}
#ukulele-tuning
#"2-1;4-3;2-2;4-4;"
-\storePredefinedDiagram \chordmode {fis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:dim}
#ukulele-tuning
#"2-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {fis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:maj7}
#ukulele-tuning
#"3-2;5-4;2-1;4-3;"
-\storePredefinedDiagram \chordmode {fis:6}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:6}
#ukulele-tuning
#"3-2-(;3-2-);2-1;4-4;"
-\storePredefinedDiagram \chordmode {fis:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:sus2}
#ukulele-tuning
#"1-1-(;1-1-);2-2;4-4;"
-\storePredefinedDiagram \chordmode {fis:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:sus4}
#ukulele-tuning
#"4-4;1-1;2-2;2-3;"
-\storePredefinedDiagram \chordmode {fis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:aug}
#ukulele-tuning
#"3-2;2-1-(;2-1-);5-4;"
-\storePredefinedDiagram \chordmode {fis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {fis:9}
#ukulele-tuning
#"3-1;4-2-(;4-2;4-2-);"
%%%% ges chords
-\storePredefinedDiagram \chordmode {ges}
+\storePredefinedDiagram #default-fret-table \chordmode {ges}
#ukulele-tuning
#"3-3;1-1;2-2;1-1;"
-\storePredefinedDiagram \chordmode {ges:m}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:m}
#ukulele-tuning
#"2-2;1-1;2-3;o;"
-\storePredefinedDiagram \chordmode {ges:7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:7}
#ukulele-tuning
#"3-3;4-4;2-2;1-1;"
-\storePredefinedDiagram \chordmode {ges:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:m7}
#ukulele-tuning
#"2-1;4-3;2-2;4-4;"
-\storePredefinedDiagram \chordmode {ges:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:dim}
#ukulele-tuning
#"2-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {ges:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:maj7}
#ukulele-tuning
#"3-2;5-4;2-1;4-3;"
-\storePredefinedDiagram \chordmode {ges:6}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:6}
#ukulele-tuning
#"3-2-(;3-2-);2-1;4-4;"
-\storePredefinedDiagram \chordmode {ges:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:sus2}
#ukulele-tuning
#"1-1-(;1-1-);2-2;4-4;"
-\storePredefinedDiagram \chordmode {ges:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:sus4}
#ukulele-tuning
#"4-4;1-1;2-2;2-3;"
-\storePredefinedDiagram \chordmode {ges:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:aug}
#ukulele-tuning
#"3-2;2-1-(;2-1-);5-4;"
-\storePredefinedDiagram \chordmode {ges:9}
+\storePredefinedDiagram #default-fret-table \chordmode {ges:9}
#ukulele-tuning
#"3-1;4-2-(;4-2;4-2-);"
%%%% g chords
-\storePredefinedDiagram \chordmode {g}
+\storePredefinedDiagram #default-fret-table \chordmode {g}
#ukulele-tuning
#"o;2-1;3-3;2-2;"
-\storePredefinedDiagram \chordmode {g:m}
+\storePredefinedDiagram #default-fret-table \chordmode {g:m}
#ukulele-tuning
#"o;2-2;3-3;1-1;"
-\storePredefinedDiagram \chordmode {g:7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:7}
#ukulele-tuning
#"o;2-2;1-1;2-3;"
-\storePredefinedDiagram \chordmode {g:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:m7}
#ukulele-tuning
#"o;2-2;1-1-(;1-1-);"
-\storePredefinedDiagram \chordmode {g:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {g:dim}
#ukulele-tuning
#"o;1-1;o;1-2;"
-\storePredefinedDiagram \chordmode {g:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {g:maj7}
#ukulele-tuning
#"o;2-1;2-2;2-3;"
-\storePredefinedDiagram \chordmode {g:6}
+\storePredefinedDiagram #default-fret-table \chordmode {g:6}
#ukulele-tuning
#"o;2-1;o;2-2;"
-\storePredefinedDiagram \chordmode {g:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {g:sus2}
#ukulele-tuning
#"o;2-1;3-2;o;"
-\storePredefinedDiagram \chordmode {g:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {g:sus4}
#ukulele-tuning
#"o;2-1;3-2;3-3;"
-\storePredefinedDiagram \chordmode {g:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {g:aug}
#ukulele-tuning
#"o;3-2-(;3-2-);2-1;"
-\storePredefinedDiagram \chordmode {g:9}
+\storePredefinedDiagram #default-fret-table \chordmode {g:9}
#ukulele-tuning
#"2-2;2-3;1-1;2-4;"
%%%% gis chords
-\storePredefinedDiagram \chordmode {gis}
+\storePredefinedDiagram #default-fret-table \chordmode {gis}
#ukulele-tuning
#"5-3;3-1-(;4-2;3-1-);"
-\storePredefinedDiagram \chordmode {gis:m}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:m}
#ukulele-tuning
#"1-1;3-3;4-4;2-2;"
-\storePredefinedDiagram \chordmode {gis:7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:7}
#ukulele-tuning
#"1-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {gis:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:m7}
#ukulele-tuning
#"1-1;3-4;2-2;2-3;"
-\storePredefinedDiagram \chordmode {gis:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:dim}
#ukulele-tuning
#"1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {gis:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:maj7}
#ukulele-tuning
#"1-1;3-2;3-3-(;3-3-);"
-\storePredefinedDiagram \chordmode {gis:6}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:6}
#ukulele-tuning
#"1-1;3-3;1-2;3-4;"
-\storePredefinedDiagram \chordmode {gis:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:sus2}
#ukulele-tuning
#"1-2;3-3;4-4;1-1;"
-\storePredefinedDiagram \chordmode {gis:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:sus4}
#ukulele-tuning
#"1-1;2-3;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {gis:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:aug}
#ukulele-tuning
#"1-1;o;o;3-4;"
-\storePredefinedDiagram \chordmode {gis:9}
+\storePredefinedDiagram #default-fret-table \chordmode {gis:9}
#ukulele-tuning
#"1-1;o;2-3;1-2;"
%%%% aes chords
-\storePredefinedDiagram \chordmode {aes}
+\storePredefinedDiagram #default-fret-table \chordmode {aes}
#ukulele-tuning
#"5-3;3-1-(;4-2;3-1-);"
-\storePredefinedDiagram \chordmode {aes:m}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:m}
#ukulele-tuning
#"1-1;3-3;4-4;2-2;"
-\storePredefinedDiagram \chordmode {aes:7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:7}
#ukulele-tuning
#"1-1;3-3;2-2;3-4;"
-\storePredefinedDiagram \chordmode {aes:m7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:m7}
#ukulele-tuning
#"1-1;3-4;2-2;2-3;"
-\storePredefinedDiagram \chordmode {aes:dim}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:dim}
#ukulele-tuning
#"1-1;2-3;1-2;2-4;"
-\storePredefinedDiagram \chordmode {aes:maj7}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:maj7}
#ukulele-tuning
#"1-1;3-2;3-3-(;3-3-);"
-\storePredefinedDiagram \chordmode {aes:6}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:6}
#ukulele-tuning
#"1-1;3-3;1-2;3-4;"
-\storePredefinedDiagram \chordmode {aes:sus2}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:sus2}
#ukulele-tuning
#"1-2;3-3;4-4;1-1;"
-\storePredefinedDiagram \chordmode {aes:sus4}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:sus4}
#ukulele-tuning
#"1-1;2-3;4-3-(;4-3-);"
-\storePredefinedDiagram \chordmode {aes:aug}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:aug}
#ukulele-tuning
#"1-1;o;o;3-4;"
-\storePredefinedDiagram \chordmode {aes:9}
+\storePredefinedDiagram #default-fret-table \chordmode {aes:9}
#ukulele-tuning
#"1-1;o;2-3;1-2;"
predefinedFretboardsOff =
\set predefinedDiagramTable = ##f
predefinedFretboardsOn =
- \set predefinedDiagramTable = #fretboard-table
+ \set predefinedDiagramTable = #default-fret-table
%% shape note heads
top-htaccess=$(trusted-dir)/lilypond.org.htaccess
dir-htaccess=$(trusted-dir)/website-dir.htaccess
TEXI2HTML_PROGRAM=$(HOME)/usr/bin/texi2html
- EXAMPLES=$(HOME)/media/ly-examples/
- PICTURES=$(HOME)/media/pictures
+ EXAMPLES=$(HOME)/lilypond/media/ly-examples/
+ PICTURES=$(HOME)/lilypond/media/pictures
else
### for normal git
script-dir=$(top-src-dir)/scripts/build/
### only update this when the language compiles correctly!
# LANGUAGES = (site, de, es, fr, hu, it, ja, nl)
-WEB_LANGS = es fr it nl de
+WEB_LANGS = es fr it nl de hu
TEXI2HTML=ONLY_WEB=1 TOP_SRC_DIR=$(top-src-dir) DEPTH=$(depth) PERL_UNICODE=SD $(TEXI2HTML_PROGRAM)
r"style = #'none",
str);
return str
+
+@rule ((2, 13, 36),
+ _ ("Add fretboard-table argument to savePredefinedFretboard."))
+def conv(str):
+ str = re.sub (r"storePredefinedDiagram",
+ r"storePredefinedDiagram #default-fret-table",
+ str);
+ return str
+
# Guidelines to write rules (please keep this at the end of this file)
#
# - keep at most one rule per version; if several conversions should be done,
(StreamEvent .
(RemoveContext ChangeParent Override Revert UnsetProperty
SetProperty music-event OldMusicEvent CreateContext Prepare
- OneTimeStep Finish))
+ OneTimeStep Finish))
(music-event . (annotate-output-event
arpeggio-event breathing-event extender-event span-event
rhythmic-event dynamic-event break-event label-event percent-event
- key-change-event string-number-event stroke-finger-event tie-event part-combine-event
+ key-change-event string-number-event stroke-finger-event tie-event
+ part-combine-event part-combine-force-event
beam-forbid-event script-event
tremolo-event bend-after-event fingering-event glissando-event
harmonic-event hyphen-event laissez-vibrer-event mark-event
- multi-measure-text-event note-grouping-event
+ multi-measure-text-event note-grouping-event
pes-or-flexa-event repeat-tie-event spacing-section-event
layout-instruction-event completize-extender-event break-span-event))
-
+
(layout-instruction-event . (apply-output-event))
(script-event . (articulation-event text-script-event))
(part-combine-event . (solo-one-event solo-two-event unisono-event))
(dynamic-event . (absolute-dynamic-event))
(span-event . (span-dynamic-event beam-event episema-event ligature-event
pedal-event phrasing-slur-event slur-event staff-span-event
- text-span-event trill-span-event tremolo-span-event
+ text-span-event trill-span-event tremolo-span-event
tuplet-span-event))
(span-dynamic-event . (decrescendo-event crescendo-event))
(break-span-event . (break-dynamic-span-event))
(lambda (rel)
(for-each
(lambda (type)
- (hashq-set! ancestor-lookup type
+ (hashq-set! ancestor-lookup type
(cons type (hashq-ref ancestor-lookup (car rel) '()))))
(cdr rel)))
event-classes)
+(define-public (define-event-class leaf heritage)
+ (cond
+ ((not (eq? leaf (car heritage)))
+ (ly:warning (_ "All classes must be the last in their matrilineal line.")))
+ ((not (equal? (cdr heritage)
+ (list-head (hashq-ref ancestor-lookup (cadr heritage) '())
+ (length (cdr heritage)))))
+ (ly:warning (_ "All classes must have a well-defined pedigree in the existing class hierarchy.")))
+ (else (hashq-set! ancestor-lookup
+ leaf
+ (cons leaf
+ (hashq-ref ancestor-lookup
+ (cadr heritage)
+ '()))))))
+
;; TODO: Allow entering more complex classes, by taking unions.
(define-public (ly:make-event-class leaf)
(hashq-ref ancestor-lookup leaf))
(define unlistened-music-event-classes
'(harmonic-event line-break-event page-break-event page-turn-event label-event
solo-one-event solo-two-event skip-event unisono-event
- break-dynamic-span-event))
+ part-combine-force-event break-dynamic-span-event))
;; produce neater representation of music event tree.
;; TODO: switch to this representation for the event-classes list?
;; check that the music event tree corresponds well with the set of
;; available translators; print warnings otherwise.
-(map-tree (lambda (sym)
+(map-tree (lambda (sym)
(if (and (symbol? sym)
(not (ly:is-listened-event-class sym))
(not (assq sym event-classes))
(not (memq sym unlistened-music-event-classes)))
- (ly:programming-error (_ "event class ~A seems to be unused") sym)))
+ (ly:programming-error (_ "event class ~A seems to be unused") sym)))
music-event-tree)
(map (lambda (sym)
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Item)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (ambitus-interface
axis-group-interface
break-aligned-interface))))))
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (align-interface
axis-group-interface
bass-figure-alignment-interface))))))
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
side-position-interface))))))
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface))))))
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
dynamic-interface
dynamic-line-spanner-interface
(expand-limit . 10)
(hair-thickness . 2.0)
(padding . 1)
- (spacing-pair . (break-alignment . staff-bar))
+ (spacing-pair . (break-alignment . break-alignment))
(springs-and-rods . ,ly:multi-measure-rest::set-spacing-rods)
(staff-position . 0)
(stencil . ,ly:multi-measure-rest::print)
(X-extent . ,ly:axis-group-interface::width)
(meta . ((class . Paper_column)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
font-interface
paper-column-interface
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Item)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
note-collision-interface))))))
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Item)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
note-column-interface
separation-item-interface))))))
;; (font-size . -6) (font-name . "sans") (Y-extent . #f)
(meta . ((class . Paper_column)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
font-interface
paper-column-interface
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
piano-pedal-interface
side-position-interface))))))
(Y-extent . ,ly:axis-group-interface::height)
(meta . ((class . Item)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (bar-line-interface
font-interface
span-bar-interface))))))
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
piano-pedal-interface
side-position-interface))))))
(Y-extent . ,ly:system::height)
(meta . ((class . System)
(object-callbacks . ((pure-relevant-grobs . ,ly:system::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)
(pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)))
(interfaces . (axis-group-interface
system-interface))))))
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
piano-pedal-interface
side-position-interface))))))
(meta . ((class . Spanner)
(object-callbacks . ((Y-common . ,ly:axis-group-interface::calc-y-common)
(pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)
(pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)))
(interfaces . (align-interface
axis-group-interface))))))
(object-callbacks . (
(X-common . ,ly:axis-group-interface::calc-x-common)
(pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
hara-kiri-group-spanner-interface))))))
(Y-offset . ,ly:side-position-interface::y-aligned-side)
(meta . ((class . Spanner)
(object-callbacks . ((pure-Y-common . ,ly:axis-group-interface::calc-pure-y-common)
- (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)
- (pure-relevant-items . ,ly:axis-group-interface::calc-pure-relevant-items)
- (pure-relevant-spanners . ,ly:axis-group-interface::calc-pure-relevant-spanners)))
+ (pure-relevant-grobs . ,ly:axis-group-interface::calc-pure-relevant-grobs)))
(interfaces . (axis-group-interface
side-position-interface
volta-interface))))))
;;; using `chain-assoc-get' (more on that below)
;;;
;;; args...
-;;; the command arguments. There are restrictions on the
-;;; possible arguments for a markup command.
-;;; First, arguments are distinguished according to their type:
-;;; 1) a markup (or a string), corresponding to type predicate `markup?'
-;;; 2) a list of markups, corresponding to type predicate `markup-list?'
-;;; 3) any scheme object, corresponding to type predicates such as
-;;; `list?', 'number?', 'boolean?', etc.
-;;; The supported arrangements of arguments, according to their type, are:
-;;; - no argument
-;;; - markup
-;;; - scheme
-;;; - markup, markup
-;;; - markup-list
-;;; - scheme, scheme
-;;; - scheme, markup
-;;; - scheme, scheme, markup
-;;; - scheme, scheme, markup, markup
-;;; - scheme, markup, markup
-;;; - scheme, scheme, scheme
-;;; This combinations are hard-coded in the lexer and in the parser
-;;; (lily/lexer.ll and lily/parser.yy)
+;;; the command arguments.
+;;; There is no limitation on the order of command arguments.
+;;; However, markup functions taking a markup as their last
+;;; argument are somewhat special as you can apply them to a
+;;; markup list, and the result is a markup list where the
+;;; markup function (with the specified leading arguments) has
+;;; been applied to every element of the original markup list.
+;;;
+;;; Since replicating the leading arguments for applying a
+;;; markup function to a markup list is cheap mostly for
+;;; Scheme arguments, you avoid performance pitfalls by just
+;;; using Scheme arguments for the leading arguments of markup
+;;; functions that take a markup as their last argument.
;;;
;;; args-signature
;;; the arguments signature, i.e. a list of type predicates which
(format #f "\\bar \"~a\"~a" ?bar-type (new-line->lily-string))))
;;; \partial
-(define (duration->moment ly-duration)
- (let ((log2 (ly:duration-log ly-duration))
- (dots (ly:duration-dot-count ly-duration))
- (num+den (ly:duration-factor ly-duration)))
- (let* ((m (expt 2 (- log2)))
- (factor (/ (car num+den) (cdr num+den))))
- (/ (do ((i 0 (1+ i))
- (delta (/ m 2) (/ delta 2)))
- ((= i dots) m)
- (set! m (+ m delta)))
- factor))))
-
-(define moment-duration-alist (map (lambda (duration)
- (cons (duration->moment duration)
- duration))
- (append-map (lambda (log2)
- (map (lambda (dots)
- (ly:make-duration log2 dots 1 1))
- (list 0 1 2 3)))
- (list 0 1 2 3 4))))
-
-(define (moment->duration moment)
- (assoc-get (- moment) moment-duration-alist))
(define-extra-display-method ContextSpeccedMusic (expr parser)
"If `expr' is a partial measure, return \"\\partial ...\".
'ContextSpeccedMusic
context-type 'Timing
element (music
- 'PropertySet
- value ?moment
- symbol 'measurePosition))))
- (let ((duration (moment->duration (/ (ly:moment-main-numerator ?moment)
- (ly:moment-main-denominator ?moment)))))
- (and duration (format #f "\\partial ~a" (duration->lily-string duration
- #:force-duration #t))))))
+ 'PartialSet
+ partial-duration ?duration))))
+
+ (and ?duration
+ (format #f "\\partial ~a"
+ (duration->lily-string ?duration #:force-duration #t)))))
;;;
;;;
(figure ,integer? "A bass figure.")
(force-accidental ,boolean? "If set, a cautionary accidental should
always be printed on this note.")
+ (forced-type ,symbol? "Override for the part-combiner.")
(grob-property ,symbol? "The symbol of the grob property to set.")
(grob-property-path ,list? "A list of symbols, locating a nested grob
(page-turn-permission ,symbol? "When the music is at top-level,
whether to allow, forbid or force a page turn.")
(parenthesize ,boolean? "Enclose resulting objects in parentheses?")
+ (partial-duration ,ly:duration? "The length of a partial measure as a
+duration.")
(part-combine-status ,symbol? "Change to what kind of state?
Options are @code{solo1}, @code{solo2} and @code{unisono}.")
(pitch ,ly:pitch? "The pitch of this note.")
(types . (general-music break-event page-turn-event event))
))
+ (PartCombineForceEvent
+ . ((description . "Override the part-combiner's strategy.")
+ (types . (general-music part-combine-force-event event))
+ ))
+
+ (PartialSet
+ . ((description . "Create an anacrusis or upbeat (partial measure).")
+ (iterator-ctor . ,ly:partial-iterator::constructor)
+ (types . (general-music partial-set))
+ ))
+
(PartCombineMusic
. ((description . "Combine two parts on a staff, either merged or
as separate voices.")
(set! (ly:music-property ev 'label) label)
ch))))
-(define-ly-syntax-simple (partial dur)
+(define-ly-syntax (partial parser location dur)
"Make a partial measure."
- (let ((mom (ly:moment-sub ZERO-MOMENT (ly:duration-length dur))))
- ;; We use `descend-to-context' here instead of `context-spec-music' to
- ;; ensure \partial still works if the Timing_translator is moved
+ ;; We use `descend-to-context' here instead of `context-spec-music' to
+ ;; ensure \partial still works if the Timing_translator is moved
(descend-to-context
- (context-spec-music (make-property-set 'measurePosition mom) 'Timing)
- 'Score)))
+ (context-spec-music (make-music 'PartialSet
+ 'origin location
+ 'partial-duration dur)
+ 'Timing)
+ 'Score))
((and (not (string? arg)) (markup? arg)) ;; a markup
(inner-markup->make-markup arg))
(else ;; scheme arg
- arg)))
+ (music->make-music arg))))
(define (inner-markup->make-markup mrkup)
(if (string? mrkup)
`(#:simple ,mrkup)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
(define-class <Split-state> ()
+ ;; The automatically determined split configuration
(configuration #:init-value '() #:accessor configuration)
+ ;; Allow overriding split configuration, takes precedence over configuration
+ (forced-configuration #:init-value #f #:accessor forced-configuration)
(when-moment #:accessor when #:init-keyword #:when)
;; voice-states are states starting with the Split-state or later
;;
(voice-state-vec2 (make-voice-states evl2))
(result (make-split-state voice-state-vec1 voice-state-vec2)))
+ ;; Go through all moments recursively and check if the events of that
+ ;; moment contain a part-combine-force-event override. If so, store its
+ ;; value in the forced-configuration field, which will override. The
+ ;; previous configuration is used to determine non-terminated settings.
+ (define (analyse-forced-combine result-idx prev-res)
+
+ (define (get-forced-event x)
+ (if (ly:in-event-class? x 'part-combine-force-event)
+ (cons (ly:event-property x 'forced-type) (ly:event-property x 'once))
+ #f))
+ (define (part-combine-events vs)
+ (if (not vs)
+ '()
+ (filter-map get-forced-event (events vs))))
+ ;; end part-combine-events
+
+ ;; forced-result: Take the previous config and analyse whether
+ ;; any change happened.... Return new once and permanent config
+ (define (forced-result evt state)
+ ;; sanity check, evt should always be (new-state . once)
+ (if (not (and (pair? evt) (pair? state)))
+ state
+ (if (cdr evt)
+ ;; Once-event, leave permanent state unchanged
+ (cons (car evt) (cdr state))
+ ;; permanent change, leave once state unchanged
+ (cons (car state) (car evt)))))
+ ;; end forced-combine-result
+
+ ;; body of analyse-forced-combine:
+ (if (< result-idx (vector-length result))
+ (let* ((now-state (vector-ref result result-idx)) ; current result
+ ;; Extract all part-combine force events
+ (ev1 (part-combine-events (car (voice-states now-state))))
+ (ev2 (part-combine-events (cdr (voice-states now-state))))
+ (evts (append ev1 ev2))
+ ;; result is (once-state permament-state):
+ (state (fold forced-result (cons 'automatic prev-res) evts))
+ ;; Now let once override permanent changes:
+ (force-state (if (equal? (car state) 'automatic)
+ (cdr state)
+ (car state))))
+ (set! (forced-configuration (vector-ref result result-idx))
+ force-state)
+ ;; For the next moment, ignore the once override (car stat)
+ ;; and pass on the permanent override, stored as (cdr state)
+ (analyse-forced-combine (1+ result-idx) (cdr state)))))
+ ;; end analyse-forced-combine
+
+
(define (analyse-time-step result-idx)
(define (put x . index)
"Put the result to X, starting from INDEX backwards.
(display "***\n")
(display result)
(display "***\n")))
+
+ ;; Extract all forced combine strategies, i.e. events inserted by
+ ;; \partcombine(Apart|Automatic|SoloI|SoloII|Chords)[Once]
+ ;; They will in the end override the automaically determined ones.
+ ;; Initial state for both voices is no override
+ (analyse-forced-combine 0 #f)
+ ;; Now go through all time steps in a loop and find a combination strategy
+ ;; based only on the events of that one moment (i.e. neglecting longer
+ ;; periods of solo/apart, etc.)
(analyse-time-step 0)
;; (display result)
+ ;; Check for unisono or unisilence moments
(analyse-a2 0)
;;(display result)
(analyse-solo12 0)
;; (display result)
(set! result (map
- (lambda (x) (cons (when x) (configuration x)))
+ ;; forced-configuration overrides, if it is set
+ (lambda (x) (cons (when x) (or (forced-configuration x) (configuration x))))
(vector->list result)))
(if #f ;; pc-debug
(display result))
(output-file (if multi-page? pngn png1))
(gs-variable-options
- ;; ps-page-count returns 0 for EPS files
- (if (zero? page-count)
+ (if (string-suffix-ci? ".eps" ps-name)
"-dEPSCrop"
(format #f "-dDEVICEWIDTHPOINTS=~,2f -dDEVICEHEIGHTPOINTS=~,2f"
page-width page-height)))
"Like the C++ code that executes \revert, but without type
checking. "
- (define (revert-member alist entry new)
- "Return ALIST, with ENTRY removed. ALIST is not modified, instead
+ (define (entry-count alist entry-key)
+ "Count the number of entries in alist with a key of
+ENTRY-KEY."
+ (cond
+ ((null? alist) 0)
+ ((equal? (caar alist) entry-key)
+ (+ 1 (entry-count (cdr alist) entry-key)))
+ (else (entry-count (cdr alist) entry-key))))
+
+ (define (revert-member alist entry-key)
+ "Return ALIST, with the first entry having a key of
+ENTRY-KEY removed. ALIST is not modified, instead
a fresh copy of the list-head is made."
(cond
- ((null? alist) new)
- ((equal? (car alist) entry) (revert-member (cdr alist) entry new))
+ ((null? alist) '())
+ ((equal? (caar alist) entry-key) (cdr alist))
(else (cons (car alist)
- (revert-member (cdr alist) entry new)))))
-
- (ly:context-set-property!
- context property
- (revert-member (ly:context-property context property) setting '())))
+ (revert-member (cdr alist) entry-key)))))
+
+ ;; body of revert-property-setting
+ (let ((current-value (ly:context-property context property)))
+ (if (> (entry-count current-value setting) 1)
+ (ly:context-set-property!
+ context
+ property
+ (revert-member current-value setting)))))
(define-public (override-time-signature-setting time-signature setting . rest)
"Override the time signature settings for the context in @var{rest},
else:
return m.group (0)
+def escape_backslashes_in_header(snippet):
+ # ASSUME: the \header exists.
+ header_char_number_start = snippet.find('\header {')
+ header_char_number_end = snippet.find('} % begin verbatim')
+
+ header = snippet[header_char_number_start:header_char_number_end]
+ # two levels of escaping happening here -- 4\ means 1\
+ # and the 10\ means two \ backslashes (that's 8\ ), and
+ # one backreference to group 1 (that's two 2\ ).
+ new_header = re.sub("@code\{\\\\([a-zA-Z])", "@code{\\\\\\\\\\1", header)
+ escaped_snippet = (snippet[:header_char_number_start] +
+ new_header + snippet[header_char_number_end:])
+ return escaped_snippet
+
def copy_ly (srcdir, name, tags):
global unsafe
global unconverted
s = mark_verbatim_section (s)
s = lsr_comment_re.sub ('', s)
s = strip_white_spaces_re.sub ('', s)
+ s = escape_backslashes_in_header (s)
open (dest, 'w').write (s)
e = os.system (convert_ly+(" -e '%s'" % dest))
else:
need_line_break_workaround = True
contents = doctitle_re.sub (doctitle_sub, contents)
+ contents = escape_backslashes_in_header (contents)
+
# workaround for a bug in the regex's that I'm not smart
# enough to figure out. -gp
if need_line_break_workaround:
exit 1
fi
-git grep --name-only $1 | xargs sed -i -e s/$1/$2/g
+echo "Warning -- if this script is run after a branch is rebased,"
+echo " unintended changes will occur. It would be best to revert"
+echo " the rebase commit before running."
+git grep --name-only $1 | xargs sed -i -e s/$1/$2/g
projects / lilypond.git / commitdiff