+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: 5fbf194037aff3918ac4b0a076fd5867fbb87527
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c M-x texinfo-all-menus-update
+@c to automatically fill in these menus before saving changes
+
@node Basic notation
@chapter Basic notation
-UNTRANSLATED NODE: IGNORE ME
+Este capítulo explica cómo usar las funcionalidades de notación básica.
+
+@menu
+* Pitches::
+* Rhythms::
+* Polyphony::
+* Staff notation::
+* Connecting notes::
+* Expressive marks::
+* Repeats::
+@end menu
-@menu
-UNTRANSLATED NODE: IGNORE ME
-* Pitches::
-* Rhythms::
-* Polyphony::
-* Staff notation::
-* Connecting notes::
-* Expressive marks::
-* Repeats::
-@end menu
@node Pitches
@section Pitches
-UNTRANSLATED NODE: IGNORE ME
+Esta sección trata tómo especificar la altura de las notas.
-@menu
+@menu
+* Normal pitches::
+* Accidentals::
+* Cautionary accidentals::
+* Micro tones::
+* Note names in other languages::
+* Relative octaves::
+* Octave check::
+* Transpose::
+* Rests::
+* Skips::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* Normal pitches::
-* Accidentals::
-* Cautionary accidentals::
-* Micro tones::
-* Note names in other languages::
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Rests::
-* Skips::
-@end menu
@node Normal pitches
@subsection Normal pitches
-UNTRANSLATED NODE: IGNORE ME
+@cindex Nombres de las notas
+@cindex alturas
-@node Accidentals
+El nombre de una nota se especifica usando las letras minúsculas de la @code{a} a la @code{g}.
+Una escala ascendente de Do mayor se tipografía con
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef bass
+c d e f g a b c'
+@end lilypond
+
+El nombre de la nota @code{c} se tipografía una octava por debajo del Do central.
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
+c1
+@end lilypond
+@funindex '
+@funindex ,
+
+La especificación opcional de la octava tiene la forma de una serie de
+comillas simples o apóstrofes (@samp{'}) o bien una serie de comas
+(@samp{,}). Cada @samp{'} eleva la altura una octava;
+cada @samp{,} baja la altura una octava.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\clef treble
+c' c'' e' g d'' d' d c
+\clef bass
+c, c,, e, g d,, d, d c
+@end lilypond
+
+Se puede usar un método alternativo para declarar en qué octava grabar
+una nota; este método no requiere tantas especificaciones de octava
+(@code{'} y @code{,}). Consulte
+@ref{Relative octaves}.
+
+
+@node Accidentals
@subsection Accidentals
-UNTRANSLATED NODE: IGNORE ME
+@cindex nombres de las notas, holandés
+@cindex nombres de las notas, por omisión
-@node Cautionary accidentals
+Un sostenido se forma añadiendo @code{-is} tal final del nombre de la nota y
+un bemol se forma añadiendo @code{-es}. Los dobles sostenidos y dobles bemoles
+se obtienen apadiendo @code{-isis} o @code{-eses} al nombre de la nota.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a2 ais a aes
+a2 aisis a aeses
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+@noindent
+Estos son los nombres de las notas en holandés. En holandés, @code{aes} se contrae en
+@code{as}, pero las dos formas se aceptan. De forma similar, se aceptan
+tanto @code{es} como @code{ees}
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a2 as e es
+@end lilypond
+
+Un becuadro cancelará el efecto de una alteración accidental o de la armadura.
+Sin embargo, los becuadros no se codifican dentro de la sintaxis del nombre de la nota con un
+sufijo; una altura natural se muestra como un simple nombre de nota
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 aes a2
+@end lilypond
+
+La entrada @code{d e f} se interpreta como @q{imprimir un Re natural,
+Mi natural y Fa natural}, independientemente de la armadura de la tonalidad.
+Para ver más información acerca de la distinción entre
+el contenido musical y la presentación de ese contenido, consulte
+@ref{Accidentals and key signatures}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+
+
+@commonprop
+
+De acuerdo con las reglas estándar del tipografiado, se imprime un signo de becuadro
+antes de un sostenido o un bemos siempre que una alteración anterior tiene que cancelarse.
+Para modificar este comportamiento, utilice
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
+
+@seealso
+
+Referencia del programa: @internalsref{LedgerLineSpanner},
+@internalsref{NoteHead}.
+
+
+@node Cautionary accidentals
@subsection Cautionary accidentals
-UNTRANSLATED NODE: IGNORE ME
+@cindex alteración recordatoria
+@cindex alteración de precaución
+@cindex alteración con paréntesis
+@cindex recordatoria, alteración
+@funindex ?
+@cindex precaución, alteración de
+@cindex paréntesis, alteración con
+@funindex !
-@node Micro tones
+Normalmente las alteraciones accidentales se imprimen automáticamente, pero también puede
+imprimirlas manualmente. Un alteración recordatoria
+se puede forzar añadiendo un signo de admiración @code{!}
+después de la altura de la nota. Una alteración de precaución
+(o sea, una alteración encerrada en paréntesis) se peude obtener añadiendo el
+signo de interrogación @samp{?} después del nombre de la nota. Estas alteraciones adicionales
+se pueden usar también para producir notas con becuadro.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+cis cis cis! cis? c c? c! c
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+@seealso
+
+La producción sutomática de alteraciones accidentales se puede ajustar de muchas formas.
+Para ver más información, consulte @ref{Automatic accidentals}.
+
+
+@node Micro tones
@subsection Micro tones
-UNTRANSLATED NODE: IGNORE ME
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
-@node Note names in other languages
+Half-flats and half-sharps are formed by adding @code{-eh} and
+@code{-ih}; the following is a series of Cs with increasing pitches
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
+\set Staff.extraNatural = ##f
+ceseh ceh cih cisih
+@end lilypond
-@subsection Note names in other languages
+Micro tones are also exported to the MIDI file.
-UNTRANSLATED NODE: IGNORE ME
-@node Relative octaves
+@refbugs
-UNTRANSLATED NODE: IGNORE ME
+There are no generally accepted standards for denoting
+three-quarter flats, so LilyPond's symbol does not conform to any
+standard.
-@subsection Relative octaves
-UNTRANSLATED NODE: IGNORE ME
+@node Note names in other languages
+@subsection Note names in other languages
-@node Octave check
+There are predefined sets of note names for various other languages.
+To use them, include the language specific init file. For
+example, add @code{\include "english.ly"} to the top of the input
+file. The available language files
+and the note names they define are
+
+@c what about micro-tunes, double-sharps, and double-flats? add
+@c more columns to the table?
+@c Oh, and should this be made into a multitable?
+@cindex note names, other languages
+@example
+ Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+ -x (double)
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+svenska.ly c d e f g a b h -iss -ess
+italiano.ly do re mi fa sol la sib si -d -b
+catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+@end example
+
+
+@node Relative octaves
+@subsection Relative octaves
+
+@cindex Relative
+@cindex Relative octave specification
+@funindex \relative
+
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
+
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
+
+@noindent
+or
+
+@example
+\relative @var{musicexpr}
+@end example
+
+@noindent
+@code{c'} is used as the default if no starting pitch is defined.
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: if no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less. This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses}. In other words, a doubly-augmented fourth is considered
+a smaller interval than a diminished fifth, even though the
+doubly-augmented fourth spans seven semitones while the diminished
+fifth only spans six semitones.
+
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch can be specified that will act as the
+predecessor of the first note of @var{musicexpr}. If no starting pitch
+is specified, then middle C is used as a start.
+
+Here is the relative mode shown in action
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
+@end lilypond
+
+Octave changing marks are used for intervals greater than a fourth
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
+@end lilypond
+
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
+@end lilypond
+
+The pitch after @code{\relative} contains a note name.
+
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument. To use
+relative within transposed music, an additional @code{\relative} must
+be placed inside @code{\transpose}.
-UNTRANSLATED NODE: IGNORE ME
+@node Octave check
@subsection Octave check
-UNTRANSLATED NODE: IGNORE ME
+@cindex Octave check
+
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+
+@example
+\relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
+
+There is also an octave check that produces no visible output. The syntax
+
+@example
+\octave @var{pitch}
+@end example
+
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command. If not, a warning is printed, and the
+octave is corrected. The @var{pitch} is not printed as a note.
+
+In the example below, the first check passes without incident, since
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}. However,
+the second check produces a warning, since the @code{e} is not within
+a fifth of @code{b'}. The warning message is printed, and the octave
+is adjusted so that the following notes are in the correct octave
+once again.
+
+@example
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
+@end example
+
+
+The octave of a note following an octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is an @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
+
@node Transpose
+@subsection Transpose
-UNTRANSLATED NODE: IGNORE ME
+@cindex Transpose
+@cindex Transposition of pitches
+@funindex \transpose
-@subsection Transpose
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
-UNTRANSLATED NODE: IGNORE ME
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
-@node Rests
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
+@example
+\transpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet (for which an
+A is notated as a C, and which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or @q{concert pitch}), but they may be entered in another
+key. For example, when entering music for a B-flat trumpet which
+begins on concert D, one would write
+
+@example
+\transpose c bes @{ e4 @dots{} @}
+@end example
+
+To print this music in B-flat again (i.e., producing a trumpet part,
+instead of a concert pitch conductor's score) you would wrap the
+existing music with another @code{transpose}
+
+@example
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+@end example
+
+
+@seealso
+
+Program reference: @internalsref{TransposedMusic}.
-UNTRANSLATED NODE: IGNORE ME
+Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+
+@refbugs
+
+If you want to use both @code{\transpose} and @code{\relative},
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect on music that appears inside a
+@code{\transpose}.
+
+
+@node Rests
@subsection Rests
+@cindex Rests
-UNTRANSLATED NODE: IGNORE ME
+@funindex \rest
+@funindex r
-@node Skips
+Rests are entered like notes with the note name @code{r}
+
+@lilypond[fragment,quote,ragged-right,verbatim]
+r1 r2 r4 r8
+@end lilypond
+
+Whole bar rests, centered in middle of the bar,
+must be done with multi-measure rests. They can be used for a
+single bar as well as many bars, and are discussed in
+@ref{Multi measure rests}.
-UNTRANSLATED NODE: IGNORE ME
+To explicitly specify a rest's vertical position, write a note
+followed by @code{\rest}. A rest will be placed in the position
+where the note would appear,
+@lilypond[fragment,quote,ragged-right,verbatim]
+a'4\rest d'4\rest
+@end lilypond
+
+@noindent
+This makes manual formatting of
+polyphonic music much easier, since the automatic rest collision
+formatter will leave these rests alone.
+
+@seealso
+
+Program reference: @internalsref{Rest}.
+
+
+@node Skips
@subsection Skips
-UNTRANSLATED NODE: IGNORE ME
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+@funindex \skip
+@funindex s
-@node Rhythms
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a4 a4 s4 a4 \skip 1 a4
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+The @code{s} syntax is only available in note mode and chord mode. In
+other situations, for example, when entering lyrics, you should use
+the @code{\skip} command
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative { a'2 a2 }
+ \new Lyrics \lyricmode { \skip 2 bla2 }
+>>
+@end lilypond
+
+The skip command is merely an empty musical placeholder. It does not
+produce any output, not even transparent output.
+
+The @code{s} skip command does create @internalsref{Staff} and
+@internalsref{Voice} when necessary, similar to note and rest
+commands. For example, the following results in an empty staff.
+
+@lilypond[quote,ragged-right,verbatim]
+{ s4 }
+@end lilypond
+
+The fragment @code{@{ \skip 4 @} } would produce an empty page.
+
+@seealso
+
+Program reference: @internalsref{SkipMusic}.
+
+
+
+@node Rhythms
@section Rhythms
-UNTRANSLATED NODE: IGNORE ME
+This section discusses rhythms, durations, and bars.
-@menu
+@menu
+* Durations::
+* Augmentation dots::
+* Tuplets::
+* Scaling durations::
+* Bar check::
+* Barnumber check::
+* Automatic note splitting::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
-* Bar check::
-* Barnumber check::
-* Automatic note splitting::
-@end menu
@node Durations
@subsection Durations
-UNTRANSLATED NODE: IGNORE ME
+@cindex duration
+@funindex \longa
+@funindex \breve
+@funindex \maxima
+
+In Note, Chord, and Lyrics mode, durations are designated by numbers and
+dots: durations are entered as their reciprocal values. For example, a
+quarter note is entered using a @code{4} (since it is a 1/4 note), while
+a half note is entered using a @code{2} (since it is a 1/2 note). For
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands
+
+@example
+c'\breve
+c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
+
+@lilypond[quote]
+\score {
+\relative c'' {
+ a\breve*1/2 \autoBeamOff
+ a1 a2 a4 a8 a16 a32 a64 a64
+ \bar "empty"
+ \break
+ r\longa*1/4 r\breve *1/2
+ r1 r2 r4 r8 r16 r32 r64 r64
+ }
+ \layout {
+ ragged-right = ##t
+ indent=0\mm
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Clef_engraver"
+ \override StaffSymbol #'transparent = ##t
+ \override TimeSignature #'transparent = ##t
+ \override BarLine #'transparent = ##t
+ \consists "Pitch_squash_engraver"
+ }
+ }
+}
+@end lilypond
+
+If the duration is omitted then it is set to the previously entered
+duration. The default for the first note is a quarter note.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+{ a a a2 a a4 a a1 a }
+@end lilypond
+
@node Augmentation dots
+@subsection Augmentation dots
-UNTRANSLATED NODE: IGNORE ME
+@funindex .
-@subsection Augmentation dots
+To obtain dotted note lengths, simply add a dot (@samp{.}) to
+the number. Double-dotted notes are produced in a similar way.
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,fragment,verbatim]
+a'4 b' c''4. b'8 a'4. b'4.. c''8.
+@end lilypond
-@node Tuplets
+@refcommands
+
+Dots are normally moved up to avoid staff lines, except in polyphonic
+situations. The following commands may be used to force a particular
+direction manually
+
+@funindex \dotsUp
+@code{\dotsUp},
+@funindex \dotsDown
+@code{\dotsDown},
+@funindex \dotsNeutral
+@code{\dotsNeutral}.
-UNTRANSLATED NODE: IGNORE ME
+@seealso
+Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
+
+
+@node Tuplets
@subsection Tuplets
-UNTRANSLATED NODE: IGNORE ME
+@cindex tuplets
+@cindex triplets
+@funindex \times
-@node Scaling durations
+Tuplets are made out of a music expression by multiplying all durations
+with a fraction
+
+@example
+\times @var{fraction} @var{musicexpr}
+@end example
+
+@noindent
+The duration of @var{musicexpr} will be multiplied by the fraction.
+The fraction's denominator will be printed over the notes, optionally
+with a bracket. The most common tuplet is the triplet in which 3
+notes have the length of 2, so the notes are 2/3 of their written
+length
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
+
+Tuplets may be nested, for example,
+
+@lilypond[fragment,ragged-right,verbatim,relative=2]
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\times 4/6 {
+ a4 a
+ \times 3/5 { a a a a a }
+}
+@end lilypond
+
+@refcommands
+
+@funindex \tupletUp
+@code{\tupletUp},
+@funindex \tupletDown
+@code{\tupletDown},
+@funindex \tupletNeutral
+@code{\tupletNeutral}.
+
+
+@commonprop
+
+@funindex tupletNumberFormatFunction
+@cindex tuplet formatting
+
+The property @code{tupletSpannerDuration} specifies how long each
+bracket should last. With this, you can make lots of tuplets while
+typing @code{\times} only once, thus saving lots of typing. In the next
+example, there are two triplets shown, while @code{\times} was only
+used once
+
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+\set tupletSpannerDuration = #(ly:make-moment 1 4)
+\times 2/3 { c8 c c c c c }
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+@noindent
+For more information about @code{make-moment}, see
+@ref{Time administration}.
+The format of the number is determined by the property @code{text} in
+@code{TupletNumber}. The default prints only the denominator, but if
+it is set to the function @code{tuplet-number::calc-fraction-text},
+@var{num}:@var{den} will be printed instead.
+
+To avoid printing tuplet numbers, use
+
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+\override TupletNumber #'transparent = ##t
+\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+@end lilypond
+
+Tuplet brackets can be made to run to prefatory matter or
+the next note
+
+@lilypond[ragged-right]
+\new RhythmicStaff {
+ \set tupletFullLength = ##t
+ \time 4/4
+ \times 4/5 {
+ c4 c1
+ }
+ \set tupletFullLengthNote = ##t
+ \time 2/4
+ \times 2/3 {
+ c4 c c
+ }
+ \time 3/4
+ c4
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{TupletBracket},
+@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+
+
+
+@node Scaling durations
@subsection Scaling durations
-UNTRANSLATED NODE: IGNORE ME
+You can alter the length of duration by a fraction @var{N/M}
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
+will not affect the appearance of the notes or rests produced. These
+may be combined such as @samp{*M*N}.
-@node Bar check
+In the following example, the first three notes take up exactly two
+beats, but no triplet bracket is printed.
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\time 2/4
+a4*2/3 gis4*2/3 a4*2/3
+a4 a4 a4*2
+b16*4 c4
+@end lilypond
+
+
+@seealso
+
+This manual: @ref{Tuplets}
-UNTRANSLATED NODE: IGNORE ME
+@node Bar check
@subsection Bar check
-UNTRANSLATED NODE: IGNORE ME
+@cindex Bar check
+@funindex barCheckSynchronize
+@funindex |
-@node Barnumber check
+Bar checks help detect errors in the durations. A bar check is
+entered using the bar symbol, @samp{|}. Whenever it is encountered
+during interpretation, it should fall on a measure boundary. If it
+does not, a warning is printed. In the next example, the second bar
+check will signal an error
+@example
+\time 3/4 c2 e4 | g2 |
+@end example
+
+Bar checks can also be used in lyrics, for example
+
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
+@end example
+
+Failed bar checks are caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if the score is polyphonic, so a good place to start correcting
+input is by scanning for failed bar checks and incorrect durations.
+
+@funindex |
+@funindex pipeSymbol
+
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
+
+@lilypond[quote,ragged-right,verbatim]
+pipeSymbol = \bar "||"
-UNTRANSLATED NODE: IGNORE ME
+{ c'2 c' | c'2 c' }
+@end lilypond
+
+@node Barnumber check
@subsection Barnumber check
-UNTRANSLATED NODE: IGNORE ME
+When copying large pieces of music, it can be helpful to check that
+the LilyPond bar number corresponds to the original that you are
+entering from. This can be checked with @code{\barNumberCheck}, for
+example,
-@node Automatic note splitting
+@verbatim
+\barNumberCheck #123
+@end verbatim
+
+@noindent
+will print a warning if the @code{currentBarNumber} is not 123 when it
+is processed.
-UNTRANSLATED NODE: IGNORE ME
+@node Automatic note splitting
@subsection Automatic note splitting
-UNTRANSLATED NODE: IGNORE ME
+Long notes can be converted automatically to tied notes. This is done
+by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}.
+In the following examples, notes crossing the bar line are split and tied.
-@node Polyphony
+@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} {
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+}
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
+
+If you want to allow line breaking on the bar lines where
+@internalsref{Completion_heads_engraver} splits notes, you must
+also remove @internalsref{Forbid_line_breaks_engraver}.
-UNTRANSLATED NODE: IGNORE ME
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the engraver will
+not insert tuplets.
+
+@code{Completion_heads_engraver} only affects notes; it does not split
+rests.
+
+
+@seealso
+
+Program reference: @internalsref{Completion_heads_engraver}.
+
+
+@node Polyphony
@section Polyphony
-UNTRANSLATED NODE: IGNORE ME
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
-@menu
+@menu
+* Chords::
+* Stems::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* Chords::
-* Stems::
-* Basic polyphony::
-* Explicitly instantiating voices::
-* Collision Resolution::
-@end menu
@node Chords
@subsection Chords
-UNTRANSLATED NODE: IGNORE ME
+@cindex Chords
-@node Stems
+A chord is formed by a enclosing a set of pitches between @code{<}
+and @code{>}. A chord may be followed by a duration, and a set of
+articulations, just like simple notes
+
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<c e g>4 <c>8
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+For more information about chords, see @ref{Chord names}.
+
+@node Stems
@subsection Stems
-UNTRANSLATED NODE: IGNORE ME
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
-@node Basic polyphony
+@refcommands
-UNTRANSLATED NODE: IGNORE ME
+@funindex \stemUp
+@code{\stemUp},
+@funindex \stemDown
+@code{\stemDown},
+@funindex \stemNeutral
+@code{\stemNeutral}.
-@subsection Basic polyphony
-UNTRANSLATED NODE: IGNORE ME
+@commonprop
-@node Explicitly instantiating voices
+To change the direction of stems in the middle of the staff, use
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+a4 b c b
+\override Stem #'neutral-direction = #up
+a4 b c b
+\override Stem #'neutral-direction = #down
+a4 b c b
+@end lilypond
-@subsection Explicitly instantiating voices
-UNTRANSLATED NODE: IGNORE ME
+@node Basic polyphony
+@subsection Basic polyphony
-@node Collision Resolution
+@cindex polyphony
+
+The easiest way to enter fragments with more than one voice on a staff
+is to enter each voice as a sequence (with @code{@{...@}}), and combine
+them simultaneously, separating the voices with @code{\\}
+
+@funindex \\
+
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ c16 d e f
+ <<
+ { g4 f e | d2 e2 } \\
+ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
+ { s2. | s4 b4 c2 }
+ >>
+}
+@end lilypond
+
+The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
+voices are sometimes called @q{layers} in other notation packages}
+@cindex layers
+to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
+each of these contexts, vertical direction of slurs, stems, etc., is set
+appropriately.
+
+These voices are all separate from the voice that contains the notes just
+outside the @code{<< \\ >>} construct. This should be noted when making
+changes at the voice level. This also means that slurs and ties cannot go
+into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
+from separate @code{<< \\ >>} constructs on the same staff are the the
+same voice. Here is the same example, with different noteheads for each
+voice. Note that the change to the note-head style in the main voice does
+not affect
+the inside of the @code{<< \\ >>} constructs. Also, the change to the
+second
+voice in the first @code{<< \\ >>} construct is effective in the second
+@code{<< \\ >>}, and the voice is tied across the two constructs.
+
+@cindex note heads, styles
+
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
+}
+@end lilypond
+
+Polyphony does not change the relationship of notes within a
+@code{\relative @{ @}} block. Each note is calculated relative
+to the note immediately preceding it.
+
+@example
+\relative @{ noteA << noteB \\ noteC >> noteD @}
+@end example
+
+@code{noteC} is relative to @code{noteB}, not @code{noteA};
+@code{noteD} is relative to @code{noteC}, not @code{noteB} or
+@code{noteA}.
+
+
+@node Explicitly instantiating voices
+@subsection Explicitly instantiating voices
+
+@internalsref{Voice} contexts can also be instantiated manually
+inside a @code{<< >>} block to create polyphonic music, using
+@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
+and a horizontal shift for each part.
+
+Specifically,
+@example
+<< \upper \\ \lower >>
+@end example
+
+@noindent
+is equivalent to
+
+@example
+<<
+ \new Voice = "1" @{ \voiceOne \upper @}
+ \new Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
+
+The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
+these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
+make them point downwards.
+The command @code{\oneVoice} will revert back to the normal setting.
+
+An expression that appears directly inside a @code{<< >>} belongs to
+the main voice. This is useful when extra voices appear while the main
+voice is playing. Here is a more correct rendition of the example from
+the previous section. The crossed noteheads demonstrate that the main
+melody is now in a single voice context.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2 }
+ \new Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
+
+The correct definition of the voices allows the melody to be slurred.
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
+
+Avoiding the @code{\\} separator also allows nesting polyphony
+constructs, which in some case might be a more natural way to typeset
+the music.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ |
+ <<
+ {c8 b16 a b8 g ~ g2}
+ \new Voice { \voiceThree
+ s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
+
+In some instances of complex polyphonic music, you may need additional
+voices to avoid collisions between notes. Additional voices are added
+by defining an identifier, as shown below:
+
+@lilypond[quote,verbatim,ragged-right,relative=2]
+voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+
+\relative c''' <<
+ { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
+ { \voiceThree b4} \\
+ { \voiceFive d,} \\
+ { \voiceTwo g,}
+>>
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+@node Collision Resolution
@subsection Collision Resolution
-UNTRANSLATED NODE: IGNORE ME
+Normally, note heads with a different number of dots are not merged, but
+when the object property @code{merge-differently-dotted} is set in
+the @internalsref{NoteCollision} object, they are merged:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\new Voice << {
+ g8 g8
+ \override Staff.NoteCollision
+ #'merge-differently-dotted = ##t
+ g8 g8
+} \\ { g8.[ f16] g8.[ f16] } >>
+@end lilypond
+
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}:
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\new Voice << {
+ c8 c4.
+ \override Staff.NoteCollision
+ #'merge-differently-headed = ##t
+c8 c4. } \\ { c2 c2 } >>
+@end lilypond
+
+@noindent
+@code{merge-differently-headed} and @code{merge-differently-dotted}
+only apply to opposing stem directions (ie. Voice 1 & 2).
+
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new Voice << c''4 \\ r4 >>
+@end lilypond
+
+If three or more notes line up in the same column,
+@code{merge-differently-headed} cannot
+successfully complete the merge of the two notes that should be merged.
+To allow the merge to work properly, apply a @code{\shift} to the note that
+should not be merged. In the first measure of following example,
+@code{merge-differently-headed} does not work (the half-note head is
+solid). In the second measure, @code{\shiftOn} is applied to move the
+top @code{g} out of the column, and @code{merge-differently-headed}
+works properly.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\override Staff.NoteCollision #'merge-differently-headed = ##t
+<<
+ { d=''2 g2 } \\
+ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+ { \voiceFour e,,2 e'2}
+>>
+<<
+ { d'=''2 \shiftOn g2 } \\
+ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+ { \voiceFour e,,2 e'2}
+>>
+@end lilypond
+
+
+@refcommands
+
+@funindex \oneVoice
+@code{\oneVoice},
+@funindex \voiceOne
+@code{\voiceOne},
+@funindex \voiceTwo
+@code{\voiceTwo},
+@funindex \voiceThree
+@code{\voiceThree},
+@funindex \voiceFour
+@code{\voiceFour}.
+
+@funindex \shiftOn
+@code{\shiftOn},
+@funindex \shiftOnn
+@code{\shiftOnn},
+@funindex \shiftOnnn
+@code{\shiftOnnn},
+@funindex \shiftOff
+@code{\shiftOff}: these commands specify the
+degree to which chords of the current voice should be shifted.
+The outer voices (normally: voice 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.
+
+When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
+
+@lilypond[quote,verbatim,ragged-right]
+\relative <<
+{
+ <d g>
+ <d g>
+} \\ {
+ <b f'>
+ \once \override NoteColumn #'force-hshift = #1.7
+ <b f'>
+} >>
+@end lilypond
+
+
+@seealso
+
+Program reference: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
+
+
+@refbugs
+
+When using @code{merge-differently-headed} with an upstem eighth or a
+shorter note, and a downstem half note, the eighth note gets the wrong
+offset.
+
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
-@node Staff notation
-UNTRANSLATED NODE: IGNORE ME
+@node Staff notation
@section Staff notation
-UNTRANSLATED NODE: IGNORE ME
+@cindex Staff notation
+
+This section describes music notation that occurs on staff level,
+such as key signatures, clefs and time signatures.
-@menu
+@menu
+* Clef::
+* Key signature::
+* Time signature::
+* Partial measures::
+* Bar lines::
+* Unmetered music::
+* System start delimiters::
+* Staff symbol::
+* Writing music in parallel::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* Clef::
-* Key signature::
-* Time signature::
-* Partial measures::
-* Bar lines::
-* Unmetered music::
-* System start delimiters::
-* Staff symbol::
-* Writing music in parallel::
-@end menu
@node Clef
@subsection Clef
-UNTRANSLATED NODE: IGNORE ME
+@funindex \clef
+
+The clef indicates which lines of the staff correspond to which
+pitches. The clef is set with the @code{\clef} command
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+{ c''2 \clef alto g'2 }
+@end lilypond
+
+@cindex treble clef
+@cindex violin clef
+@cindex alto clef
+@cindex tenor clef
+@cindex bass clef
+@cindex french clef
+@cindex soprano clef
+@cindex mezzosoprano clef
+@cindex baritone clef
+@cindex varbaritone clef
+@cindex subbass clef
+
+Supported clefs include
+
+@multitable @columnfractions .33 .66
+@headitem Clef @tab Position
+@item @code{treble}, violin, G, G2 @tab
+G clef on 2nd line
+@item @code{alto, C} @tab
+C clef on 3rd line
+@item @code{tenor} @tab
+C clef on 4th line.
+@item @code{bass, F} @tab
+F clef on 4th line
+@item @code{french} @tab
+G clef on 1st line, so-called French violin clef
+@item @code{soprano} @tab
+C clef on 1st line
+@item @code{mezzosoprano} @tab
+C clef on 2nd line
+@item @code{baritone} @tab
+C clef on 5th line
+@item @code{varbaritone} @tab
+F clef on 3rd line
+@item @code{subbass} @tab
+F clef on 5th line
+@item @code{percussion} @tab
+percussion clef
+@item @code{tab} @tab
+tablature clef
+@end multitable
+
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively, and @code{_15} and
+@code{^15} transposes by two octaves. The argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
+example,
+
+@cindex choral tenor clef
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\clef "G_8" c4
+@end lilypond
+
+
+@commonprop
+
+The command @code{\clef "treble_8"} is equivalent to setting
+@code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
+when any of these properties are changed. The following example shows
+possibilities when setting properties manually.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ \set Staff.clefGlyph = #"clefs.F"
+ \set Staff.clefPosition = #2
+ c'4
+ \set Staff.clefGlyph = #"clefs.G"
+ c'4
+ \set Staff.clefGlyph = #"clefs.C"
+ c'4
+ \set Staff.clefOctavation = #7
+ c'4
+ \set Staff.clefOctavation = #0
+ \set Staff.clefPosition = #0
+ c'4
+ \clef "bass"
+ c'4
+ \set Staff.middleCPosition = #4
+ c'4
+}
+@end lilypond
+
+
+@seealso
+
+Manual: @ref{Grace notes}.
+
+Program reference: @internalsref{Clef}.
+
@node Key signature
+@subsection Key signature
-UNTRANSLATED NODE: IGNORE ME
+@cindex Key signature
+@funindex \key
-@subsection Key signature
+The key signature indicates the tonality in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of the
+staff.
-UNTRANSLATED NODE: IGNORE ME
+Setting or changing the key signature is done with the @code{\key}
+command
-@node Time signature
+@example
+@code{\key} @var{pitch} @var{type}
+@end example
-UNTRANSLATED NODE: IGNORE ME
+@funindex \minor
+@funindex \major
+@funindex \minor
+@funindex \ionian
+@funindex \locrian
+@funindex \aeolian
+@funindex \mixolydian
+@funindex \lydian
+@funindex \phrygian
+@funindex \dorian
+@cindex church modes
-@subsection Time signature
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively. You may also
+use the standard mode names (also called @q{church modes}): @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian}.
-UNTRANSLATED NODE: IGNORE ME
+This command sets the context property
+@code{Staff.keySignature}. Non-standard key signatures
+can be specified by setting this property directly.
-@node Partial measures
+Accidentals and key signatures often confuse new users, because
+unaltered notes get natural signs depending on the key signature. For
+more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
-@subsection Partial measures
-UNTRANSLATED NODE: IGNORE ME
+@commonprop
-@node Bar lines
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+\set Staff.printKeyCancellation = ##f
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+@end lilypond
-@subsection Bar lines
-UNTRANSLATED NODE: IGNORE ME
+@seealso
-@node Unmetered music
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
-UNTRANSLATED NODE: IGNORE ME
-@subsection Unmetered music
+@node Time signature
+@subsection Time signature
-UNTRANSLATED NODE: IGNORE ME
+@cindex Time signature
+@cindex meter
+@funindex \time
-@node System start delimiters
+Time signature indicates the metrum of a piece: a regular pattern of
+strong and weak beats. It is denoted by a fraction at the start of the
+staff.
-UNTRANSLATED NODE: IGNORE ME
+The time signature is set with the @code{\time} command
-@subsection System start delimiters
+@lilypond[quote,ragged-right,fragment,verbatim]
+\time 2/4 c'2 \time 3/4 c'2.
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+@commonprop
-@node Staff symbol
+The symbol that is printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time,
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[fragment,quote,ragged-right,verbatim]
+\time 4/4 c'1
+\time 2/2 c'1
+\override Staff.TimeSignature #'style = #'()
+\time 4/4 c'1
+\time 2/2 c'1
+@end lilypond
-@subsection Staff symbol
+There are many more options for its layout. See @ref{Ancient time
+signatures} for more examples.
-UNTRANSLATED NODE: IGNORE ME
+@code{\time} sets the property @code{timeSignatureFraction},
+@code{beatLength} and @code{measureLength} in the @code{Timing}
+context, which is normally aliased to @internalsref{Score}. The
+property @code{measureLength} determines where bar lines should be
+inserted, and how automatic beams should be generated. Changing the
+value of @code{timeSignatureFraction} also causes the symbol to be
+printed.
-@node Writing music in parallel
+More options are available through the Scheme function
+@code{set-time-signature}. In combination with the
+@internalsref{Measure_grouping_engraver}, it will create
+@internalsref{MeasureGrouping} signs. Such signs ease reading
+rhythmically complex modern music. In the following example, the 9/8
+measure is subdivided in 2, 2, 2 and 3. This is passed to
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ \relative c'' {
+ #(set-time-signature 9 8 '(2 2 2 3))
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
+ #(set-time-signature 5 8 '(3 2))
+ a4. g4
+ }
+ \layout {
+ \context {
+ \Staff
+ \consists "Measure_grouping_engraver"
+ }
+ }
+}
+@end lilypond
-@subsection Writing music in parallel
-UNTRANSLATED NODE: IGNORE ME
+@seealso
-@node Connecting notes
+Program reference: @internalsref{TimeSignature}, and
+@internalsref{Timing_translator}.
-UNTRANSLATED NODE: IGNORE ME
+Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
-@section Connecting notes
-UNTRANSLATED NODE: IGNORE ME
+@refbugs
-@menu
+Automatic beaming does not use the measure grouping specified with
+@code{set-time-signature}.
-UNTRANSLATED NODE: IGNORE ME
-* Ties::
-* Slurs::
-* Phrasing slurs::
-* Laissez vibrer ties::
-* Automatic beams::
-* Manual beams::
-* Grace notes::
-@end menu
-@node Ties
-@subsection Ties
+@node Partial measures
+@subsection Partial measures
-UNTRANSLATED NODE: IGNORE ME
+@cindex anacrusis
+@cindex upbeat
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@funindex \partial
-@node Slurs
+Partial measures, such as an anacrusis or upbeat, are entered using the
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+@end lilypond
-@subsection Slurs
+The syntax for this command is
-UNTRANSLATED NODE: IGNORE ME
+@example
+\partial @var{duration}
+@end example
-@node Phrasing slurs
+where @code{duration} is the rhythmic length to be added before
+the next bar.
-UNTRANSLATED NODE: IGNORE ME
+This is internally translated into
-@subsection Phrasing slurs
+@example
+\set Timing.measurePosition = -@var{length of duration}
+@end example
-UNTRANSLATED NODE: IGNORE ME
+The property @code{measurePosition} contains a rational number
+indicating how much of the measure has passed at this point. Note
+that this is a negative number; @code{\partial 4} is internally
+translated to mean @qq{there is a quarter note left in the bar.}
-@node Laissez vibrer ties
-UNTRANSLATED NODE: IGNORE ME
+@refbugs
-@subsection Laissez vibrer ties
+This command does not take into account grace notes at the start of
+the music. When a piece starts with graces notes in the pickup, then
+the @code{\partial} should follow the grace notes
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[verbatim,quote,ragged-right,relative,fragment]
+\grace f16
+\partial 4
+g4
+a2 g2
+@end lilypond
-@node Automatic beams
+@code{\partial} is only intended to be used at the beginning of a
+piece. If you use it after the beginning, some odd warnings may
+occur.
-UNTRANSLATED NODE: IGNORE ME
-@subsection Automatic beams
+@node Bar lines
+@subsection Bar lines
-UNTRANSLATED NODE: IGNORE ME
+@cindex Bar lines
+@funindex \bar
+@cindex measure lines
+@cindex repeat bars
-@node Manual beams
+Bar lines delimit measures, but are also used to indicate
+repeats. Normally they are inserted automatically. Line
+breaks may only happen on bar lines.
-UNTRANSLATED NODE: IGNORE ME
+Special types of bar lines can be forced with the @code{\bar} command
-@subsection Manual beams
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+c4 \bar "|:" c4
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+The following bar types are available
-@node Grace notes
+@lilypondfile[ragged-right,quote]{bar-lines.ly}
-UNTRANSLATED NODE: IGNORE ME
+In addition, you can specify @code{"||:"}, which is equivalent to
+@code{"|:"} except at line breaks, where it gives a double bar line at
+the end of the line and a start repeat at the beginning of the next
+line.
-@subsection Grace notes
+To allow a line break where there is no visible bar line, use
-UNTRANSLATED NODE: IGNORE ME
+@example
+\bar ""
+@end example
-@node Expressive marks
+@noindent
+This will insert an invisible bar line and allow line breaks at this
+point (without increasing the bar number counter).
-UNTRANSLATED NODE: IGNORE ME
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staves. The resulting bar lines are
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{ChoirStaff}.
-@section Expressive marks
+@lilypond[quote,ragged-right,fragment,verbatim]
+<<
+ \new StaffGroup <<
+ \new Staff {
+ e'4 d'
+ \bar "||"
+ f' e'
+ }
+ \new Staff { \clef bass c4 g e g }
+ >>
+ \new Staff { \clef bass c2 c2 }
+>>
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
-@menu
+@commonprop
-UNTRANSLATED NODE: IGNORE ME
+@funindex whichBar
+@funindex repeatCommands
+@funindex defaultBarType
-* Articulations::
-* Fingering instructions::
-* Dynamics::
-* Breath marks::
-* Trills::
-* Glissando::
-* Arpeggio::
-* Falls and doits::
-@end menu
-@node Articulations
-@subsection Articulations
+The command @code{\bar }@var{bartype} is a short cut for doing
+@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
+is set to a string, a bar line of that type is created.
-UNTRANSLATED NODE: IGNORE ME
+A bar line is created whenever the @code{whichBar} property is set.
+At the start of a measure it is set to the contents of
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
+used
+to override default measure bars.
-@node Fingering instructions
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
-UNTRANSLATED NODE: IGNORE ME
-@subsection Fingering instructions
+@seealso
-UNTRANSLATED NODE: IGNORE ME
+In this manual: @ref{Repeats}, @ref{System start delimiters}.
-@node Dynamics
+Program reference: @internalsref{BarLine} (created at
+@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-UNTRANSLATED NODE: IGNORE ME
-@subsection Dynamics
+@node Unmetered music
+@subsection Unmetered music
-UNTRANSLATED NODE: IGNORE ME
+@cindex cadenza
+@funindex \cadenzaOn
+@funindex \cadenzaOff
-@node Breath marks
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (cadenzas, for example), this is not desirable. To turn off
+automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
+and @code{\cadenzaOff}.
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
-@subsection Breath marks
-UNTRANSLATED NODE: IGNORE ME
+@refbugs
-@node Trills
+LilyPond will only insert line breaks and page breaks at a
+barline. Unless the unmetered music ends before the end of
+the staff line, you will need to insert
+invisible bar lines
-UNTRANSLATED NODE: IGNORE ME
+@example
+\bar ""
+@end example
-@subsection Trills
+@noindent
+to indicate where breaks can occur.
-UNTRANSLATED NODE: IGNORE ME
-@node Glissando
+@node System start delimiters
+@subsection System start delimiters
-UNTRANSLATED NODE: IGNORE ME
+@cindex start of system
+@cindex Staff, multiple
+@cindex bracket, vertical
+@cindex brace, vertical
+@cindex grand staff
+@cindex staff group
+@cindex staff, choir
+
+Many scores consist of more than one staff. These staves can be
+joined in four different ways
+
+@itemize @bullet
+@item The group is started with a brace at the left, and bar lines are
+connected. This is done with the @internalsref{GrandStaff} context.
+
+@lilypond[verbatim,ragged-right,quote]
+\new GrandStaff
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
+@end lilypond
+
+@item The group is started with a bracket, and bar lines are connected.
+This is done with the
+@internalsref{StaffGroup} context
+
+@lilypond[verbatim,ragged-right,quote]
+\new StaffGroup
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
+@end lilypond
+
+@item The group is started with a bracket, but bar lines are not
+connected. This is done with the @internalsref{ChoirStaff} context.
+
+@lilypond[verbatim,ragged-right,quote]
+\new ChoirStaff
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
+@end lilypond
+
+@item The group is started with a vertical line. Bar lines are not
+connected. This is the default for the score.
+
+@lilypond[verbatim,ragged-right,quote]
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
+@end lilypond
+@end itemize
+
+
+@seealso
+
+The bar lines at the start of each system are
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
+@internalsref{SystemStartBracket}. Only one of these types is created
+in every context, and that type is determined by the property
+@internalsref{systemStartDelimiter}.
+
+
+@commonprop
+
+System start delimiters may be deeply nested,
+
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup
+\relative <<
+ \set StaffGroup.systemStartDelimiterHierarchy
+ = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+>>
+@end lilypond
-@subsection Glissando
-UNTRANSLATED NODE: IGNORE ME
+@node Staff symbol
+@subsection Staff symbol
-@node Arpeggio
+@cindex adjusting staff symbol
-UNTRANSLATED NODE: IGNORE ME
+Notes, dynamic signs, etc., are grouped
+with a set of horizontal lines, called a staff (plural @q{staves}). In
+LilyPond, these lines are drawn using a separate layout object called
+@code{staff symbol}.
-@subsection Arpeggio
+The staff symbol may be tuned in the number, thickness and distance
+of lines, using properties. This is demonstrated in the example files
+@inputfileref{input/@/test,staff@/-lines@/.ly},
+@inputfileref{input/@/test,staff@/-size@/.ly}.
-UNTRANSLATED NODE: IGNORE ME
+In addition, staves may be started and stopped at will. This is done
+with @code{\startStaff} and @code{\stopStaff}.
-@node Falls and doits
+@lilypond[verbatim,relative=2,fragment]
+b4 b
+\override Staff.StaffSymbol #'line-count = 2
+\stopStaff \startStaff
+b b
+\revert Staff.StaffSymbol #'line-count
+\stopStaff \startStaff
+b b
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
+In combination with Frenched staves, this may be used to typeset ossia
+sections. An example is shown here
-@subsection Falls and doits
+@cindex ossia
-UNTRANSLATED NODE: IGNORE ME
+@lilypondfile{ossia.ly}
-@node Repeats
+@cindex staff lines, setting number of
+@cindex staff lines, setting thickness of
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
-UNTRANSLATED NODE: IGNORE ME
+@seealso
-@section Repeats
+Program reference: @internalsref{StaffSymbol}.
-UNTRANSLATED NODE: IGNORE ME
+Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
+@inputfileref{input/@/test@/,ossia.ly},
+@inputfileref{input/@/test,staff@/-size@/.ly},
+@lsr{staff,staff-line-positions.ly}
-@menu
-UNTRANSLATED NODE: IGNORE ME
+@node Writing music in parallel
+@subsection Writing music in parallel
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
-@end menu
-@node Repeat types
-@subsection Repeat types
+@cindex Writing music in parallel
+@cindex Interleaved music
+
+Music for multiple parts can be interleaved
+
+@lilypond[quote,fragment,verbatim]
+\parallelMusic #'(voiceA voiceB) {
+ r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
+ c'2 c'2 |
+ r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
+ c'2 c'2 |
+}
+\new StaffGroup <<
+ \new Staff \new Voice \voiceA
+ \new Staff \new Voice \voiceB
+>>
+@end lilypond
+
+This works quite well for piano music
+
+@lilypond[quote,verbatim]
+music = {
+ \key c \major
+ \time 4/4
+ \parallelMusic #'(voiceA voiceB voiceC voiceD) {
+ % Bar 1
+ r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
+e''] |
+ c'2 c'2 |
+ r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
+ c2 c2 |
+
+ % Bar 2
+ a'8 b' c'' d'' e'' f'' g'' a'' |
+ d'4 d' d' d' |
+ c16 d e f d e f g e f g a f g a b |
+ a,4 a,4 a,4 a,4 |
+
+ % Bar 3 ...
+ }
+}
+
+\score {
+ \new PianoStaff <<
+ \music
+ \new Staff <<
+ \voiceA \\
+ \voiceB
+ >>
+ \new Staff {
+ \clef bass
+ <<
+ \voiceC \\
+ \voiceD
+ >>
+ }
+ >>
+}
+@end lilypond
-UNTRANSLATED NODE: IGNORE ME
-@node Repeat syntax
+@node Connecting notes
+@section Connecting notes
-UNTRANSLATED NODE: IGNORE ME
+This section deals with notation that affects groups of notes.
-@subsection Repeat syntax
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
+* Automatic beams::
+* Manual beams::
+* Grace notes::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-@node Repeats and MIDI
+@node Ties
+@subsection Ties
-UNTRANSLATED NODE: IGNORE ME
+@cindex tie
+@funindex ~
-@subsection Repeats and MIDI
+A tie connects two adjacent note heads of the same pitch. The tie in
+effect extends the length of a note. Ties should not be confused with
+slurs, which indicate articulation, or phrasing slurs, which indicate
+musical phrasing. A tie is entered using the tilde symbol @samp{~}
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,fragment,verbatim]
+e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end lilypond
-@node Manual repeat commands
+When a tie is applied to a chord, all note heads whose pitches match
+are connected. When no note heads match, no ties will be created. Chords
+may be partially tied by placing the tie inside the chord,
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+<c~ e g~ b> <c e g b>
+@end lilypond
-@subsection Manual repeat commands
+A tie is just a way of extending a note duration, similar to the
+augmentation dot. The following example shows two ways of notating
+exactly the same concept
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[quote,fragment,ragged-right]
+\time 3/4 c'2. c'2 ~ c'4
+@end lilypond
-@node Tremolo repeats
+@noindent
+Ties are used either when the note crosses a bar line, or when dots
+cannot be used to denote the rhythm. When using ties, larger note
+values should be aligned to subdivisions of the measure, such as
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[fragment,quote,ragged-right]
+\relative {
+ r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+}
+@end lilypond
-@subsection Tremolo repeats
+If you need to tie a lot of notes over bars, it may be easier to use
+automatic note splitting (see @ref{Automatic note splitting}). This
+mechanism automatically splits long notes, and ties them across bar
+lines.
-UNTRANSLATED NODE: IGNORE ME
+@funindex \repeatTie
-@node Tremolo subdivisions
+When a second alternative of a repeat starts with a tied note, you
+have to repeat the tie. This can be achieved with @code{\repeatTie},
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[fragment,quote,ragged-right,relative=2]
+r <c e g>\repeatTie
+@end lilypond
-@subsection Tremolo subdivisions
+@cindex repeating ties
+@cindex volta brackets and ties
-UNTRANSLATED NODE: IGNORE ME
+@commonprop
-@node Measure repeats
+Ties are sometimes used to write out arpeggios. In this case, two tied
+notes need not be consecutive. This can be achieved by setting the
+@code{tieWaitForNote} property to true. The same feature is also useful,
+for example, to tie a tremolo to a chord. For example,
-UNTRANSLATED NODE: IGNORE ME
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+\set tieWaitForNote = ##t
+\grace { c16[~ e~ g]~ } <c, e g>2
+\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
+e8~ c~ a~ f~ <e' c a f>2
+@end lilypond
+Ties may be engraved manually by changing the @code{tie-configuration}
+property. The first number indicates the distance from the center
+of the staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+<c e g>2~ <c e g> |
+\override TieColumn #'tie-configuration =
+ #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
+<c e g>~ <c e g> |
+@end lilypond
+
+
+@refcommands
+
+
+@funindex \tieUp
+@code{\tieUp},
+@funindex \tieDown
+@code{\tieDown},
+@funindex \tieNeutral
+@code{\tieNeutral},
+@funindex \tieDotted
+@code{\tieDotted},
+@funindex \tieDashed
+@code{\tieDashed},
+@funindex \tieSolid
+@code{\tieSolid}.
+
+
+@seealso
+
+In this manual: @ref{Automatic note splitting}.
+
+Program reference: @internalsref{Tie}.
+
+
+@refbugs
+
+Switching staves when a tie is active will not produce a slanted tie.
+
+Changing clefs or octavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
+
+@node Slurs
+@subsection Slurs
+
+@cindex Slurs
+
+A slur indicates that notes are to be played bound or
+@emph{legato}. They are entered using parentheses
+
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
+@end lilypond
+
+The direction of a slur can be specified with
+@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
+either @code{Up}, @code{Down}, or @code{Neutral} (automatically
+selected).
+
+However, there is a convenient shorthand for forcing slur
+directions. By adding @code{_} or @code{^} before the opening
+parentheses, the direction is also set. For example,
+
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
+c4_( c) c^( c)
+@end lilypond
+
+Only one slur can be printed at once. If you need to print a long
+slur over a few small slurs, please see @ref{Phrasing slurs}.
+
+
+@commonprop
+
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
+
+@lilypond[verbatim,ragged-right,relative,fragment,quote]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
+
+@refcommands
+
+@funindex \slurUp
+@code{\slurUp},
+@funindex \slurDown
+@code{\slurDown},
+@funindex \slurNeutral
+@code{\slurNeutral},
+@funindex \slurDashed
+@code{\slurDashed},
+@funindex \slurDotted
+@code{\slurDotted},
+@funindex \slurSolid
+@code{\slurSolid}.
+
+@seealso
+
+Program reference: @seeinternals{Slur}.
+
+
+@node Phrasing slurs
+@subsection Phrasing slurs
+
+@cindex phrasing slurs
+@cindex phrasing marks
+
+A phrasing slur (or phrasing mark) connects notes and is used to
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
+respectively
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+\time 6/4 c'\( d( e) f( e) d\)
+@end lilypond
+
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. However, they are treated as different objects. A
+@code{\slurUp} will have no effect on a phrasing slur; instead, use
+@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+@code{\phrasingSlurNeutral}.
+
+You cannot have simultaneous phrasing slurs.
+
+
+@refcommands
+
+@funindex \phrasingSlurUp
+@code{\phrasingSlurUp},
+@funindex \phrasingSlurDown
+@code{\phrasingSlurDown},
+@funindex \phrasingSlurNeutral
+@code{\phrasingSlurNeutral}.
+
+
+@seealso
+
+Program reference: @internalsref{PhrasingSlur}.
+
+
+@node Laissez vibrer ties
+@subsection Laissez vibrer ties
+@cindex Laissez vibrer
+@cindex Ties, laissez vibrer
+
+L.v. ties (laissez vibrer) indicate that notes must not be damped at the
+end. It is used in notation for piano, harp and other string and
+percussion instruments. They can be entered using @code{\laissezVibrer},
+
+@lilypond[fragment,ragged-right,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+@seealso
+
+Program reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@lsr{connecting,laissez-vibrer-ties.ly}
+
+
+@node Automatic beams
+@subsection Automatic beams
+
+LilyPond inserts beams automatically
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
+@end lilypond
+
+When these automatic decisions are not good enough, beaming can be
+entered explicitly. It is also possible to define beaming patterns
+that differ from the defaults. See @ref{Setting automatic beam behavior}
+for details.
+
+Individual notes may be marked with @code{\noBeam} to prevent them
+from being beamed
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c8 c\noBeam c c
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Beam}.
+
+
+@node Manual beams
+@subsection Manual beams
+
+@cindex beams, manual
+@funindex ]
+@funindex [
+
+In some cases it may be necessary to override the automatic beaming
+algorithm. For example, the autobeamer will not put beams over rests
+or bar lines. Such beams are specified manually by marking the begin
+and end point with @code{[} and @code{]}
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+{
+ r4 r8[ g' a r8] r8 g[ | a] r8
+}
+@end lilypond
+
+
+@commonprop
+
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
+
+Normally, beaming patterns within a beam are determined automatically.
+If necessary, the properties @code{stemLeftBeamCount} and
+@code{stemRightBeamCount} can be used to override the defaults. If
+either property is set, its value will be used only once, and then it
+is erased
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+{
+ f8[ r16
+ f g a]
+ f8[ r16
+ \set stemLeftBeamCount = #1
+ f g a]
+}
+@end lilypond
+
+The property @code{subdivideBeams} can be set in order to subdivide
+all 16th or shorter beams at beat positions, as defined by the
+@code{beatLength} property.
+
+@lilypond[fragment,quote,relative=2,verbatim]
+c16[ c c c c c c c]
+\set subdivideBeams = ##t
+c16[ c c c c c c c]
+\set Score.beatLength = #(ly:make-moment 1 8)
+c16[ c c c c c c c]
+@end lilypond
+@funindex subdivideBeams
+
+@noindent
+For more information about @code{make-moment}, see
+@ref{Time administration}.
+
+Line breaks are normally forbidden when beams cross bar lines. This
+behavior can be changed by setting @code{breakable}.
+
+@funindex breakable
+
+@cindex beams and line breaks
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+
+
+@refbugs
+
+Kneed beams are inserted automatically when a large gap is detected
+between the note heads. This behavior can be tuned through the object.
+
+Automatically kneed cross-staff beams cannot be used together with
+hidden staves. See @ref{Hiding staves}.
+
+Beams do not avoid collisions with symbols around the notes, such as
+texts and accidentals.
+
+
+@node Grace notes
+@subsection Grace notes
+
+@funindex \grace
+@cindex ornaments
+@cindex grace notes
+@cindex appoggiatura
+@cindex acciaccatura
+
+Grace notes are ornaments that are written out. The most common ones
+are acciaccatura, which should be played as very short. It is denoted
+by a slurred small note with a slashed stem. The appoggiatura is a
+grace note that takes a fixed fraction of the main note, and is
+denoted as a slurred note in small print without a slash. They
+are entered with the commands @code{\acciaccatura} and
+@code{\appoggiatura}, as demonstrated in the following example
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
+
+Both are special forms of the @code{\grace} command. By prefixing this
+keyword to a music expression, a new one is formed, which will be
+printed in a smaller font and takes up no logical time in a measure.
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
+@end lilypond
+
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
+
+Internally, timing for grace notes is done using a second, @q{grace}
+timing. Every point in time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples
+
+@lilypond[quote,ragged-right]
+<<
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
+ }
+ \new Lyrics \lyricmode {
+ \override LyricText #'font-family = #'typewriter
+
+ \markup { (0,0) } 4
+ \grace { \markup {
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ \markup { (\fraction 1 4 , 0 ) } 4
+ \grace {
+ \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
+ \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
+ }
+ \markup { ( \fraction 2 4 , 0 ) }
+ }
+>>
+@end lilypond
+
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth grace notes for
+every eighth grace note
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c4 \grace { g8[ b] } c4 } >>
+@end lilypond
+
+@funindex \afterGrace
+
+If you want to end a note with a grace, use the @code{\afterGrace}
+command. It takes two arguments: the main note, and the grace notes
+following the main note.
+
+@lilypond[ragged-right, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
+@end lilypond
+
+This will put the grace notes after a @q{space} lasting 3/4 of the
+length of the main note. The fraction 3/4 can be changed by setting
+@code{afterGraceFraction}, ie.
+
+@example
+afterGraceFraction = #(cons 7 8)
+@end example
+
+@noindent
+will put the grace note at 7/8 of the main note.
+
+The same effect can be achieved manually by doing
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Voice {
+ << { d1^\trill_( }
+ { s2 \grace { c16[ d] } } >>
+ c4)
+}
+@end lilypond
+
+@noindent
+By adjusting the duration of the skip note (here it is a half-note),
+the space between the main-note and the grace is adjusted.
+
+A @code{\grace} section will introduce special typesetting settings,
+for example, to produce smaller type, and set directions. Hence, when
+introducing layout tweaks, they should be inside the grace section,
+for example,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Voice {
+ \acciaccatura {
+ \stemDown
+ f16->
+ \stemNeutral
+ }
+ g4
+}
+@end lilypond
+
+@noindent
+The overrides should also be reverted inside the grace section.
+
+The layout of grace sections can be changed throughout the music using
+the function @code{add-grace-property}. The following example
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
+
+@example
+\new Staff @{
+ #(add-grace-property 'Voice 'Stem 'direction '())
+ @dots{}
+@}
+@end example
+
+@noindent
+Another option is to change the variables @code{startGraceMusic},
+@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
+@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopAppoggiaturaMusic}. More information is in the file
+@file{ly/@/grace@/-init@/.ly}.
+
+@noindent
+The slash through the stem in acciaccaturas can be obtained
+in other situations by @code{\override Stem #'stroke-style = #"grace"}.
+
+
+@commonprop
+
+Grace notes may be forced to use floating spacing,
+
+@lilypond[relative=2,ragged-right]
+<<
+ \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+ \new Staff {
+ c'4
+ \afterGrace
+ c'4
+ { c'16[ c'8 c'16] }
+ c'4
+ }
+ \new Staff {
+ c'16[ c'16 c'16 c'16]
+ c'16[ c'16 c'16 c'16]
+ c'4
+ }
+>>
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{GraceMusic}.
+
+
+@refbugs
+
+A score that starts with a @code{\grace} section needs an explicit
+@code{\new Voice} declaration, otherwise the main note and the grace
+note end up on different staves.
+
+Grace note synchronization can also lead to surprises. Staff notation,
+such as key signatures, bar lines, etc., are also synchronized. Take
+care when you mix staves with grace notes and staves without, for example,
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+<< \new Staff { e4 \bar "|:" \grace c16 d4 }
+ \new Staff { c4 \bar "|:" d4 } >>
+@end lilypond
+
+@noindent
+This can be remedied by inserting grace skips of the corresponding
+durations in the other staves. For the above example
+
+@example
+\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
+@end example
+
+Grace sections should only be used within sequential music
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
+
+
+
+@node Expressive marks
+@section Expressive marks
+
+Expressive marks help musicians to bring more to the music than simple
+notes and rhythms.
+
+@menu
+* Articulations::
+* Fingering instructions::
+* Dynamics::
+* Breath marks::
+* Trills::
+* Glissando::
+* Arpeggio::
+* Falls and doits::
+@end menu
+
+
+@node Articulations
+@subsection Articulations
+
+@cindex Articulations
+@cindex scripts
+@cindex ornaments
+
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance. They are added to a note
+by adding a dash and the character signifying the
+articulation. They are demonstrated here
+
+@lilypondfile[quote,ragged-right]{script-abbreviations.ly}
+
+The meanings of these shorthands can be changed. See
+@file{ly/@/script@/-init@/.ly} for examples.
+
+The script is automatically placed, but the direction can be forced as
+well. Like other pieces of LilyPond code, @code{_} will place them
+below the staff, and @code{^} will place them above.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+c''4^^ c''4_^
+@end lilypond
+
+Other symbols can be added using the syntax
+@var{note}@code{\}@var{name}. Again, they
+can be forced up or down using @code{^} and @code{_},
+e.g.,
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\fermata c^\fermata c_\fermata
+@end lilypond
+
+@cindex accent
+@cindex marcato
+@cindex staccatissimo
+@cindex espressivo
+@cindex fermata
+@cindex stopped
+@cindex staccato
+@cindex portato
+@cindex tenuto
+@cindex upbow
+@cindex downbow
+@cindex foot marks
+@cindex organ pedal marks
+@cindex turn
+@cindex open
+@cindex flageolet
+@cindex reverseturn
+@cindex trill
+@cindex prall
+@cindex mordent
+@cindex prallprall
+@cindex prallmordent
+@cindex prall, up
+@cindex prall, down
+@cindex mordent
+@cindex thumb marking
+@cindex segno
+@cindex coda
+@cindex varcoda
+
+Here is a chart showing all scripts available,
+
+@lilypondfile[ragged-right,quote]{script-chart.ly}
+
+
+@commonprop
+
+The vertical ordering of scripts is controlled with the
+@code{script-priority} property. The lower this number, the closer it
+will be put to the note. In this example, the
+@internalsref{TextScript} (the sharp symbol) first has the lowest
+priority, so it is put lowest in the first example. In the second, the
+prall trill (the @internalsref{Script}) has the lowest, so it is on the
+inside. When two objects have the same priority, the order in which
+they are entered decides which one comes first.
+
+@lilypond[verbatim,relative=3,ragged-right,fragment,quote]
+\once \override TextScript #'script-priority = #-100
+a4^\prall^\markup { \sharp }
+
+\once \override Script #'script-priority = #-100
+a4^\prall^\markup { \sharp }
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Script}.
+
+
+@refbugs
+
+These signs appear in the printed output but have no effect on the
+MIDI rendering of the music.
+
+
+@node Fingering instructions
+@subsection Fingering instructions
+
+@cindex fingering
+@cindex finger change
+
+Fingering instructions can be entered using
+@example
+@var{note}-@var{digit}
+@end example
+For finger changes, use markup texts
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2 - 3" }
+@end lilypond
+
+You can use the thumb-script to indicate that a note should be
+played with the thumb (e.g., in cello music)
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
+<a_\thumb a'-3>8 <b_\thumb b'-3>
+@end lilypond
+
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
+< c-1 e-2 g-3 b-5 >4
+@end lilypond
+
+
+@commonprop
+
+You may exercise greater control over fingering chords by
+setting @code{fingeringOrientations}
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
+@end lilypond
+
+Using this feature, it is also possible to put fingering instructions
+very close to note heads in monophonic music,
+
+@lilypond[verbatim,ragged-right,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Fingering}.
+
+Examples: @lsr{expressive,fingering-chords.ly}
+
+
+@node Dynamics
+@subsection Dynamics
+
+@cindex Dynamics
+@funindex \pppp
+@funindex \ppp
+@funindex \pp
+@funindex \p
+@funindex \mp
+@funindex \mf
+@funindex \f
+@funindex \ff
+@funindex \fff
+@funindex \ffff
+@funindex \fp
+@funindex \sf
+@funindex \sff
+@funindex \sp
+@funindex \spp
+@funindex \sfz
+@funindex \rfz
+
+Absolute dynamic marks are specified using a command after a note
+@code{c4\ff}. The available dynamic marks are @code{\ppppp},
+@code{\pppp}, @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
+c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
+@end lilypond
+
+@funindex \<
+@funindex \>
+@funindex \!
+
+A crescendo mark is started with @code{\<} and terminated with
+@code{\!} or an absolute dynamic. A decrescendo is started with
+@code{\>} and is also terminated with @code{\!} or an absolute
+dynamic. @code{\cr} and @code{\decr} may be used instead of
+@code{\<} and @code{\>}. Because these marks are bound to notes, you must
+use spacer notes if multiple marks are needed during one note
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c\< c\! d\> e\!
+<< f1 { s4 s4\< s4\! \> s4\! } >>
+@end lilypond
+
+@noindent
+A hairpin normally starts at the left edge of the beginning note
+and ends on the right edge of the ending note. If the ending
+note falls on the downbeat, the hairpin ends on the immediately
+preceding barline. This may be modified by setting the
+@code{hairpinToBarline} property,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set hairpinToBarline = ##f
+c4\< c2. c4\!
+@end lilypond
+
+In some situations the @code{\espressivo} articulation mark may
+be suitable to indicate a crescendo and decrescendo on the one note,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c2 b4 a g1\espressivo
+@end lilypond
+
+This may give rise to very short hairpins. Use @code{minimum-length}
+in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
+example
+
+@example
+\override Voice.Hairpin #'minimum-length = #5
+@end example
+
+@cindex al niente
+@cindex niente, al
+
+Hairpins may be printed with a circled tip (al niente notation) by
+setting the @code{circled-tip} property,
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\override Hairpin #'circled-tip = ##t
+c2\< c\!
+c4\> c\< c2\!
+@end lilypond
+
+
+@cindex crescendo
+@cindex decrescendo
+@cindex diminuendo
+
+You can also use text saying @emph{cresc.} instead of hairpins
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\setTextCresc
+c\< d e f\!
+\setHairpinCresc
+e\> d c b\!
+\setTextDecresc
+c\> d e f\!
+\setTextDim
+e\> d c b\!
+@end lilypond
+
+You can also supply your own texts
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\set crescendoText = \markup { \italic "cresc. poco" }
+\set crescendoSpanner = #'dashed-line
+a'2\< a a a\!\mf
+@end lilypond
+
+To create new dynamic marks or text that should be aligned
+with dynamics, see @ref{New dynamic marks}.
+
+Vertical positioning of dynamics is handled by
+@internalsref{DynamicLineSpanner}.
+
+
+@commonprop
+
+Dynamics that occur at, begin on, or end on, the same note
+will be vertically aligned. If you want to ensure that dynamics
+are aligned when they do not occur on the same note, you can
+increase the @code{staff-padding} property.
+
+@example
+\override DynamicLineSpanner #'staff-padding = #4
+@end example
+
+You may also use this property if the dynamics are colliding
+with other notation.
+
+Crescendi and decrescendi that end on the first note of a
+new line are not printed. To change this behavior, use
+
+@example
+\override Score.Hairpin #'after-line-breaking = ##t
+@end example
+
+Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
+are printed with a
+dashed line showing their extent. To surpress printing this line, use
+
+@example
+\override DynamicTextSpanner #'dash-period = #-1.0
+@end example
+
+
+@refcommands
+
+@funindex \dynamicUp
+@code{\dynamicUp},
+@funindex \dynamicDown
+@code{\dynamicDown},
+@funindex \dynamicNeutral
+@code{\dynamicNeutral}.
+
+
+@seealso
+
+Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
+Vertical positioning of these symbols is handled by
+@internalsref{DynamicLineSpanner}.
+
+
+@node Breath marks
+@subsection Breath marks
+
+Breath marks are entered using @code{\breathe}
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+c'4 \breathe d4
+@end lilypond
+
+
+@commonprop
+
+The glyph of the breath mark can be tuned by overriding the
+@code{text} property of the @code{BreathingSign} layout object with
+any markup text. For example,
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+c'4
+\override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts.rvarcomma")
+\breathe
+d4
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{BreathingSign}.
+
+Examples: @lsr{expressive,breathing-sign.ly}
+
+
+@node Trills
+@subsection Trills
+
+Short trills are printed like normal articulation; see @ref{Articulations}.
+
+Long running trills are made with @code{\startTrillSpan} and
+@code{\stopTrillSpan},
+
+@lilypond[verbatim,ragged-right,relative=2,quote,fragment]
+\new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
+@end lilypond
+
+@cindex Pitched trills
+
+Trills that should be executed on an explicitly specified pitch can be
+typeset with the command @code{pitchedTrill},
+
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
+\pitchedTrill c4\startTrillSpan fis
+f\stopTrillSpan
+@end lilypond
+
+The first argument is the main note. The pitch of the second
+is printed as a stemless note head in parentheses.
+
+
+@refcommands
+
+@code{\startTrillSpan},
+@funindex \startTrillSpan
+@code{\stopTrillSpan}.
+@funindex \stopTrillSpan
+
+
+@seealso
+
+Program reference: @internalsref{TrillSpanner}.
+
+
+@node Glissando
+@subsection Glissando
+
+@cindex Glissando
+@funindex \glissando
+
+A glissando is a smooth change in pitch. It is denoted by a line or a
+wavy line between two notes. It is requested by attaching
+@code{\glissando} to a note
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+c2\glissando c'
+\override Glissando #'style = #'zigzag
+c2\glissando c,
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Glissando}.
+
+Example files:
+@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
+
+
+
+@refbugs
+
+Printing text over the line (such as @emph{gliss.}) is not supported.
+
+
+@node Arpeggio
+@subsection Arpeggio
+
+@cindex Arpeggio
+@cindex broken chord
+@funindex \arpeggio
+
+You can specify an arpeggio sign (also known as broken chord) on a
+chord by attaching an @code{\arpeggio} to a chord
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+<c e g c>\arpeggio
+@end lilypond
+
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
+@end lilypond
+
+The direction of the arpeggio is sometimes denoted by adding an
+arrowhead to the wiggly line
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new Voice {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
+@end lilypond
+
+
+@commonprop
+
+When an arpeggio crosses staves, you may attach an arpeggio to the chords
+in both staves and set
+@internalsref{PianoStaff}.@code{connectArpeggios}
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
+@end lilypond
+
+
+@refcommands
+
+@code{\arpeggio},
+@funindex \arpeggioUp
+@code{\arpeggioUp},
+@funindex \arpeggioDown
+@code{\arpeggioDown},
+@funindex \arpeggioNeutral
+@code{\arpeggioNeutral},
+@funindex \arpeggioBracket
+@code{\arpeggioBracket}.
+
+
+@seealso
+
+Notation manual: @ref{Ties}, for writing out arpeggios.
+
+Program reference: @internalsref{Arpeggio}.
+
+
+@refbugs
+
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one @internalsref{PianoStaff} at the same point in time.
+
+
+@node Falls and doits
+@subsection Falls and doits
+
+Falls and doits can be added to notes using the @code{\bendAfter}
+command,
+
+@lilypond[fragment,ragged-right,relative=2]
+\override Score.SpacingSpanner #'shortest-duration-space = #3.0
+c4-\bendAfter #+5
+c4-\bendAfter #-3
+@end lilypond
+
+
+@node Repeats
+@section Repeats
+
+Repetition is a central concept in music, and multiple notations exist
+for repetitions.
+
+@menu
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
+@end menu
+
+
+@node Repeat types
+@subsection Repeat types
+
+@cindex repeats
+@funindex \repeat
+
+The following types of repetition are supported
+
+@table @code
+@item unfold
+Repeated music is fully written (played) out. This is useful when
+entering repetitious music. This is the only kind of repeat that
+is included in MIDI output.
+
+@item volta
+Repeats are not written out, but alternative endings (volte) are
+printed, left to right with brackets. This is the standard notation
+for repeats with alternatives. These are not played in MIDI output by
+default.
+
+
+@item tremolo
+Make tremolo beams. These are not played in MIDI output by default.
+
+@item percent
+Make beat or measure repeats. These look like percent signs. These
+are not played in MIDI output by default. Percent repeats must be
+declared within a @code{Voice} context.
+
+@end table
+
+
+@node Repeat syntax
+@subsection Repeat syntax
+
+@cindex volta
+@cindex prima volta
+@cindex seconda volta
+
+LilyPond has one syntactic construct for specifying different types of
+repeats. The syntax is
+
+@example
+\repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
+
+If you have alternative endings, you may add
+@funindex \alternative
+@example
+\alternative @{
+ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3}
+ @dots{}
+@}
+@end example
+
+@noindent
+where each @var{alternative} is a music expression. If you do not
+give enough alternatives for all of the repeats, the first alternative
+is assumed to be played more than once.
+
+Standard repeats are used like this
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 { c4 d e f }
+\repeat volta 2 { f e d c }
+@end lilypond
+
+With alternative endings
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f}
+\alternative { {d2 d} {f f,} }
+@end lilypond
+
+In the following example, the first ending is not a complete
+bar (it only had 3 beats). The beginning of the second ending
+contains the 4th beat from the first ending. This @q{extra}
+beat in the second ending is due to the first time ending,
+and has nothing to do with the @code{\partial} at the
+beginning of the example.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Staff {
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
+}
+@end lilypond
+
+@funindex \repeatTie
+
+Ties may be added to a second ending,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f ~ }
+\alternative { {f2 d} {f\repeatTie f,} }
+@end lilypond
+
+It is possible to shorten volta brackets
+by setting @code{voltaSpannerDuration}. In the next example, the
+bracket only lasts one measure, which is a duration of 3/4.
+
+@lilypond[verbatim,ragged-right,quote]
+\relative c''{
+ \time 3/4
+ c c c
+ \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \repeat "volta" 5 { d d d }
+ \alternative { { e e e f f f }
+ { g g g } }
+}
+@end lilypond
+
+
+@seealso
+
+Examples:
+
+Brackets for the repeat are normally only printed over the topmost
+staff. This can be adjusted by setting the @code{voltaOnThisStaff}
+property; see
+
+@lsr{repeats,volta@/-multi@/-staff@/.ly}.
+
+
+@refbugs
+
+@cindex repeat, ambiguous
+
+A nested repeat like
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+@noindent
+is ambiguous, since it is is not clear to which @code{\repeat} the
+@code{\alternative} belongs. This ambiguity is resolved by always
+having the @code{\alternative} belong to the inner @code{\repeat}.
+For clarity, it is advisable to use braces in such situations.
+
+Timing information is not remembered at the start of an alternative,
+so after a repeat timing information must be reset by hand; for
+example, by setting @code{Score.measurePosition} or entering
+@code{\partial}. Similarly, slurs or ties are also not repeated.
+
+Volta brackets are not vertically aligned.
+
+
+@node Repeats and MIDI
+@subsection Repeats and MIDI
+
+@cindex expanding repeats
+@funindex \unfoldRepeats
+
+With a little bit of tweaking, all types of repeats can be present
+in the MIDI output. This is achieved by applying the
+@code{\unfoldRepeats} music function. This function changes all
+repeats to unfold repeats.
+
+@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
+\unfoldRepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
+ }
+}
+\bar "|."
+@end lilypond
+
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI (with
+unfolded repeats) and one for notation (with volta, tremolo, and
+percent repeats). For example,
+
+@example
+\score @{
+ @var{..music..}
+ \layout @{ .. @}
+@}
+\score @{
+ \unfoldRepeats @var{..music..}
+ \midi @{ .. @}
+@}
+@end example
+
+
+@node Manual repeat commands
+@subsection Manual repeat commands
+
+@funindex repeatCommands
+
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands.
+
+@table @asis
+@item @code{start-repeat}
+Print a @code{|:} bar line.
+
+@item @code{end-repeat}
+Print a @code{:|} bar line.
+
+@item @code{(volta @var{text})}
+Print a volta bracket saying @var{text}: The text can be specified as
+a text string or as a markup text, see @ref{Text markup}. Do not
+forget to change the font, as the default number font does not contain
+alphabetic characters;
+
+@item @code{(volta #f)}
+Stop a running volta bracket.
+@end table
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c4
+ \set Score.repeatCommands = #'((volta "93") end-repeat)
+c4 c4
+ \set Score.repeatCommands = #'((volta #f))
+c4 c4
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{VoltaBracket},
+@internalsref{RepeatedMusic},
+@internalsref{VoltaRepeatedMusic},
+@internalsref{UnfoldedRepeatedMusic}, and
+@internalsref{FoldedRepeatedMusic}.
+
+
+@node Tremolo repeats
+@subsection Tremolo repeats
+
+@cindex tremolo beams
+
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style
+@lilypond[quote,verbatim,ragged-right]
+\new Voice \relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+}
+@end lilypond
+
+Tremolo marks can also be put on a single note. In this case, the
+note should not be surrounded by braces.
+@lilypond[quote,verbatim,ragged-right]
+\repeat "tremolo" 4 c'16
+@end lilypond
+
+Similar output is obtained using the tremolo subdivision, described in
+@ref{Tremolo subdivisions}.
+
+
+@seealso
+
+In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
+
+Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
+
+
+@node Tremolo subdivisions
+@subsection Tremolo subdivisions
+
+@cindex tremolo marks
+@funindex tremoloFlags
+
+Tremolo marks can be printed on a single note 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{length} value of 8 gives one line across the note stem. If the
+length is omitted, the last value (stored in @code{tremoloFlags}) is
+used
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+c'2:8 c':32 | c': c': |
+@end lilypond
+
+
+@refbugs
+
+Tremolos entered in this way do not carry over into the MIDI output.
+
+
+@seealso
+
+In this manual: @ref{Tremolo repeats}.
+
+Elsewhere: @internalsref{StemTremolo}.
+
+
+@node Measure repeats
@subsection Measure repeats
-UNTRANSLATED NODE: IGNORE ME
+@cindex percent repeats
+@cindex measure repeats
+
+In the @code{percent} style, a note pattern can be repeated. It is
+printed once, and then the pattern is replaced with a special sign.
+Patterns of one and two measures are replaced by percent-like signs,
+patterns that divide the measure length are replaced by slashes.
+Percent repeats must be declared within a @code{Voice} context.
+
+@lilypond[quote,verbatim,ragged-right]
+\new Voice \relative c' {
+ \repeat "percent" 4 { c4 }
+ \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
+}
+@end lilypond
+
+Measure repeats of more than 2 measures get a counter, if you switch
+on the @code{countPercentRepeats} property,
+
+@lilypond[relative=2,fragment,quote,verbatim,ragged-right]
+\new Voice {
+\set countPercentRepeats = ##t
+ \repeat "percent" 4 { c1 }
+}
+@end lilypond
+
+
+
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,
+
+@lilypond[fragment,verbatim,quote]
+\override MultiMeasureRest #'stencil
+ = #ly:multi-measure-rest::percent
+R1
+@end lilypond
+
+
+
+
+@seealso
+
+Program reference: @internalsref{RepeatSlash},
+@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
+@internalsref{DoublePercentRepeatCounter},
+@internalsref{PercentRepeatCounter},
+@internalsref{PercentRepeatedMusic}.
+
+
+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: 5fbf194037aff3918ac4b0a076fd5867fbb87527
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@node Working on LilyPond projects
@chapter Working on LilyPond projects
-UNTRANSLATED NODE: IGNORE ME
+Esta sección explica cómo resolver o evitar ciertos problemas comunes.
+Si tiene experiencia en programación muchos de estos
+consejos pueden parecer obvios, pero aún así le recomendamos
+que lea este capítulo.
+
-@menu
+@menu
+* Suggestions for writing LilyPond files::
+* Saving typing with identifiers and functions::
+* Style sheets::
+* Updating old files::
+* Troubleshooting (taking it all apart)::
+* Minimal examples::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* Suggestions for writing LilyPond files::
-* Saving typing with identifiers and functions::
-* Style sheets::
-* Updating old files::
-* Troubleshooting (taking it all apart)::
-* Minimal examples::
-@end menu
@node Suggestions for writing LilyPond files
@section Suggestions for writing LilyPond files
-UNTRANSLATED NODE: IGNORE ME
+En este momento está preparado para comenzar a escribir archivos de LilyPond más grandes -- no sólo los
+pequeños ejemplos que aparecen en el tutorial, sino piezas completas --. Pero ¿cómo debe proceder
+para hacerlo?
+
+En la medida en que LilyPond entienda sus archivos y produzca la salida que usted
+pretendía, realmente no importa mucho qué aspecto tengan sus archivos. Sin embargo
+existen algunas otras cosas a tener en cuenta cuando se escriben archivos de LilyPond.
+
+@itemize @bullet
+@item ¿Qué ocurre si comete un fallo? La estructura de un archivo
+lilypond puede hacer más fáciles (o más difíciles) de encontrar ciertos errores.
-@menu
+@item ¿Qué ocurre si quiere compartir sus archivos con otras personas?
+De hecho, ¿y si quiere alterar sus propios archivos después de algunos años?
+Algunos archivos de lilypond se comprenden a primera vista;
+otros pueden tenerle rascándose la cabeza durante una hora.
+
+@item ¿Qué ocurre si quiere actualizar su archivo de lilypond para poderlo usar con
+una versión más reciente del programa? La sintaxis de la entrada se modifica
+de forma ocasional según lilypond se va perfeccionando. Casi todos los cambios se pueden
+hacer de forma automática con @code{convert-ly}, pero algunos podrían necesitar de una
+ayuda manual. Los archivos de Lilypond se pueden estructurar para que sean
+más fáciles (o más difíciles) de actualizar.
+@end itemize
+
+@menu
+* General suggestions::
+* Typesetting existing music::
+* Large projects::
+@end menu
-UNTRANSLATED NODE: IGNORE ME
-* General suggestions::
-* Typesetting existing music::
-* Large projects::
-@end menu
@node General suggestions
@subsection General suggestions
-UNTRANSLATED NODE: IGNORE ME
+Presentamos algunas sugerencias que pueden serle de ayuda para evitar
+o corregir problemas:
-@node Typesetting existing music
+@itemize @bullet
+@item @strong{Incluya los números de @code{\version} en todos los archivos}. Dése cuenta de que todas las
+plantillas contienen una cadena como @code{\version "2.11.15"}. Le recomendamos
+mucho que siempre incluya la @code{\version}, sin importar cuán
+pequeño pueda ser su archivo. Desde la experiencia personal podemos decirle que es bastante frustrante
+intentar recordar el número de versión de LilyPond que estaba usando hace unos años.
+. @code{convert-ly} requiere que declare qué versión de LilyPond utilizó.
+
+@item @strong{Incluya comprobaciones}: @ref{Bar check}, @ref{Octave check} y
+@ref{Barnumber check}. Si
+incluye comprobaciones de vez en cuando, en caso de que cometa un error podrá localizarlo mucho más rápidamente.
+¿Con qué frecuencia es @q{de vez en cuando}? Depende de la complejidad
+de la música. Para una música muy sencilla, quizá tan sólo una o dos veces. Para
+una música muy compleja, quizá a cada compás.
+
+@item @strong{Un compás por cada línea de texto}. Si hay algo muy complicado, ya sea
+en la propia música
+o en la salida que desea producir, a menudo conviene escribir un solo compás
+por cada línea. El ahorro en espacio de pantalla que se obtiene al amontonar ocho compases por línea no merece la pena
+si luego tiene que @q{depurar} los archivos.
-UNTRANSLATED NODE: IGNORE ME
+@item @strong{Comente los archivos}. Utilice o números de compás (de vez en cuando)
+o referencias a temas musicales (@q{segundo tema de los violines,} @q{cuarta
+variación,} etc.). Puede que no necesite comentarios cuando introduce una pieza por vez primera,
+pero si quiere volver a ella o modificar algo al cabo de dos o tres años,
+y también si le pasa la fuente a un amigo, será
+todo un desafío determinar sus intenciones o de qué manera estaba estructurado el archivo si no le añadió los comentarios.
+@item @strong{Aplique márgenes a las llaves}. Muchos problemas están causados por una falta de
+equilibrio en el número de @code{@{} y @code{@}}.
+
+@item @strong{Escriba las duraciones explícitamente} al comienzo de las secciones
+e identificadores. Si especifica @code{c4 d e} al principio de una frase
+(en lugar de sólo @code{c d e}) se puede ahorrar problemas
+si reelabora la música más tarde.
+
+@item @strong{Separe los trucos} de las definiciones musicales. Consulte
+@ref{Saving typing with identifiers and functions} y
+@ref{Style sheets}.
+
+@end itemize
+
+
+@node Typesetting existing music
@subsection Typesetting existing music
-UNTRANSLATED NODE: IGNORE ME
+Si está introduciendo música a partir de una partitura existente (es decir, tipografiando una hoja
+de música ya impresa),
-@node Large projects
+@itemize @bullet
-UNTRANSLATED NODE: IGNORE ME
+@item Introduzca un sistema del manuscrito (la copia física) cada vez (pero mantenga
+la práctica de escibir un compás por línea de texto), y
+compruebe cada sistema cuando lo haya terminado. Puede usar el comando
+@code{showLastLength} para acelerar el proceso -- ver
+@ref{Skipping corrected music} -- .
-@subsection Large projects
+@item Defina @code{mBreak = @{ \break @}} e inserte @code{\mBreak}
+dentro del archivo de entrada donde el manuscrito tenga un saldo de línea. De esta forma
+le resultará mucho más fácil comparar la música de LilyPond con la original.
+Cuando haya terminado de revisar su partitura podrá
+definir @code{mBreak = @{ @}} para quitar todos esos saltos de línea. Así
+permitirá a LilyPond colocar los saltos donde éste lo estime más oportuno.
-UNTRANSLATED NODE: IGNORE ME
+@end itemize
-@node Saving typing with identifiers and functions
-UNTRANSLATED NODE: IGNORE ME
+@node Large projects
+@subsection Large projects
+
+Al trabajar en proyecto grande se hace esencial tener una estructura clara en los archivos de lilypond.
+
+@itemize @bullet
+
+@item @strong{Utilice un identificador para cada voz}, con un mínimo de
+estructura dentro de la definición. La estructura de la sección
+@code{\score} es la que cambiará con mayor probabilidad; es
+extremadamente improbable que cambie la definición de @code{violin} en
+versiones nuevas de LilyPond.
+
+@example
+violin = \relative c'' @{
+g4 c'8. e16
+@}
+...
+\score @{
+ \new GrandStaff @{
+ \new Staff @{
+ \violin
+ @}
+ @}
+@}
+@end example
+
+@item @strong{Separe los trucos de las definiciones musicales}. Ya se mencionó
+en @ref{General suggestions}, pero para proyectos
+grandes es vital. Quizá tengamos que cambiar la
+definición de @code{fthenp}, pero en ese caso sólo lo tendremos que
+hacer una vez, y aún podremos evitar tocar nada dentro de @code{violin}.
+
+@example
+fthenp = _\markup@{
+ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
+violin = \relative c'' @{
+g4\fthenp c'8. e16
+@}
+@end example
+
+@end itemize
-@section Saving typing with identifiers and functions
-UNTRANSLATED NODE: IGNORE ME
+@node Saving typing with identifiers and functions
+@section Saving typing with identifiers and functions
-@node Style sheets
+@cindex variables
+@cindex identificadores
+
+Llegado a este punto, usted ha visto cosas de este tipo:
+
+@lilypond[quote,verbatim,ragged-right]
+hornNotes = \relative c'' { c4 b dis c }
+\score {
+ {
+ \hornNotes
+ }
+}
+@end lilypond
+
+Incluso se dará cuenta de que esto puede ser útil en música minimalista:
+
+@lilypond[quote,verbatim,ragged-right]
+fragA = \relative c'' { a4 a8. b16 }
+fragB = \relative c'' { a8. gis16 ees4 }
+violin = \new Staff { \fragA \fragA \fragB \fragA }
+\score {
+ {
+ \violin
+ }
+}
+@end lilypond
+
+Sin ambargo también puede usar estos identificadores (que también se conocen como
+variables, macros o comandos definidos por el usuario) para hacer trucos:
+
+@lilypond[quote,verbatim,ragged-right]
+dolce = \markup{ \italic \bold dolce }
+padText = { \once \override TextScript #'padding = #5.0 }
+fthenp=_\markup{ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p }
+violin = \relative c'' {
+ \repeat volta 2 {
+ c4._\dolce b8 a8 g a b |
+ \padText
+ c4.^"hi there!" d8 e' f g d |
+ c,4.\fthenp b8 c4 c-. |
+ }
+}
+\score {
+ {
+ \violin
+ }
+\layout{ragged-right=##t}
+}
+@end lilypond
+
+Obviamente estos identificadores son útiles para ahorrar tecleo.
+Pero son dignos de tener en cuenta incluso si se van a utilizar una sola vez:
+reducen la complejidad. Examinemos
+el ejemplo anterior reescrito sin ningún identificador.
+Encontrará que es mucho más difícil de leer, sobre todo la última línea.
+
+@example
+violin = \relative c'' @{
+ \repeat volta 2 @{
+ c4._\markup@{ \italic \bold dolce @} b8 a8 g a b |
+ \once \override TextScript #'padding = #5.0
+ c4.^"hi there!" d8 e' f g d |
+ c,4.\markup@{ \dynamic f \italic \small @{ 2nd @}
+ \hspace #0.1 \dynamic p @} b8 c4 c-. |
+ @}
+@}
+@end example
+
+Hasta ahora hemos contemplado la sustitucion estática: cuando LilyPond
+se encuentra con @code{\padText}, lo sustituye con aquello que
+hemos definido que sea (es decir, todo lo que está a la derecha de
+@code{padtext=}).
+
+LilyPond también puede manejar sustituciones no estáticas (piense en ellas
+como en funciones).
+
+@lilypond[quote,verbatim,ragged-right]
+padText =
+#(define-music-function (parser location padding) (number?)
+ #{
+ \once \override TextScript #'padding = #$padding
+ #})
+
+\relative c''' {
+ c4^"piu mosso" b a b
+ \padText #1.8
+ c4^"piu mosso" d e f
+ \padText #2.6
+ c4^"piu mosso" fis a g
+}
+@end lilypond
+
+La utilización de identificadores también es una buena forma de reducir el trabajo si
+la sintaxis de entrada de LilyPond cambia (ver @ref{Updating old files}). Si
+tiene una sola definición (como p.ej. @code{\dolce}) para todos sus
+archivos (ver @ref{Style sheets}), y después la sintaxis se modifica, sólo tendrá
+que actualizar su definición @code{\dolce} única,
+en lugar de tener que hacer cambios en cada uno de los archivos @code{.ly}.
-UNTRANSLATED NODE: IGNORE ME
+@node Style sheets
@section Style sheets
-UNTRANSLATED NODE: IGNORE ME
+La salida que produce LilyPond se puede modificar profundamente; consulte
+@ref{Tweaking output} para leer detalles sobre este asunto. Pero ¿qué ocurre si tiene muchos
+archivos a los que les quiere aplicar sus porpios trucos? O ¿qué ocurre si, sencillamente,
+quere separar los trucos de la propia música? Todo esto es bastante fácil de conseguir.
+
+Veamos un ejemplo. No se preocupe si no entiende
+las partes que tienen todos los @code{#()}. Esto se explicará en
+@ref{Advanced tweaks with Scheme}.
+
+@lilypond[quote,verbatim,ragged-right]
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line(#:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup { \bold $markp }
+#})
+
+\relative c'' {
+ \tempo 4=50
+ a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ \tempoMark "Poco piu mosso"
+ cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+}
+@end lilypond
+
+Existen varios problemas con la salida que se superpone; los arreglaremos utilizando
+las técnicas descritas en @ref{Moving objects}. Pero también haremos algo respecto a
+las definiciones @code{mpdolce} y @code{tempoMark}. Éstas producen la salida que
+deseamos, pero quizá las querríamos utilizar en otra pieza.
+Podríamos simplemente copiarlas y pegarlas al principio de cada archivo,
+pero sería bastente molesto. También hace que se queden las definiciones
+a la vista dentro de nuestros archivos de música, y yo personalmente encuentro
+todos los @code{#()} bastante poco estéticos. Los vamos a esconder dentro de otro archivo:
+
+@example
+%%% guardar esto en un archivo de nombre "definiciones.ly"
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line(#:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#@{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup @{ \bold $markp @}
+#@})
+@end example
+
+Ahora modificaremos la música (guardemos este archivo como @file{"musica.ly"}).
+
+@c We have to do this awkward example/lilypond-non-verbatim
+@c because we can't do the \include stuff in the manual.
+
+@example
+\include "definiciones.ly"
+
+\relative c'' @{
+ \tempo 4=50
+ a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ \once \override Score.RehearsalMark #'padding = #2.0
+ \tempoMark "Poco piu mosso"
+ cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+@}
+@end example
+
+@lilypond[quote,ragged-right]
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line(#:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup { \bold $markp }
+#})
+
+\relative c'' {
+ \tempo 4=50
+ a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ \once \override Score.RehearsalMark #'padding = #2.0
+ \tempoMark "Poco piu mosso"
+ cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+}
+@end lilypond
+
+Eso tiene mejor aspecto, pero haremos algunos cambios más. El glissando es difícil
+de ver, así que lo haremos más grueso y lo acercaremos a las cabezas de las notas. Pondremos
+la indicación metronómica encima de la clave, en lugar de ir encima de la primera
+nota. Y por último, mi profesor de composición odia las indicaciones de compás @q{C},
+así que la convertiremos en @q{4/4}.
+
+Sin embargo, no debe cambiar el archivo @file{musica.ly}. Sustituya nuestro archivo @file{definiciones.ly}
+con éste:
+
+@example
+%%% definiciones.ly
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line( #:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#@{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup @{ \bold $markp @}
+#@})
+
+\layout@{
+ \context @{ \Score
+ \override MetronomeMark #'extra-offset = #'(-9 . 0)
+ \override MetronomeMark #'padding = #'3
+ @}
+ \context @{ \Staff
+ \override TimeSignature #'style = #'numbered
+ @}
+ \context @{ \Voice
+ \override Glissando #'thickness = #3
+ \override Glissando #'gap = #0.1
+ @}
+@}
+@end example
+
+@lilypond[quote,ragged-right]
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line( #:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup { \bold $markp }
+#})
+
+\layout{
+ \context { \Score
+ \override MetronomeMark #'extra-offset = #'(-9 . 0)
+ \override MetronomeMark #'padding = #'3
+ }
+ \context { \Staff
+ \override TimeSignature #'style = #'numbered
+ }
+ \context { \Voice
+ \override Glissando #'thickness = #3
+ \override Glissando #'gap = #0.1
+ }
+}
+
+\relative c'' {
+ \tempo 4=50
+ a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ \once \override Score.RehearsalMark #'padding = #2.0
+ \tempoMark "Poco piu mosso"
+ cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+}
+@end lilypond
+
+¡Eso tiene un aspecto mucho mejor! Ahora suponga que quier publicar esta
+pieza. A mi profesor de composición no le gustan las indicaciones de compás @q{C},
+pero yo les tengo cierto cariño. Copiaremos el archivo
+actual @file{definiciones.ly} a @file{publicar-web.ly} y modificaremos
+éste. Como el propósito de esta música es producir un PDF que va a mostrarse
+en la pantalla, también vamos a aumentar el
+tamaño general de la salida.
+
+@example
+%%% definiciones.ly
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line( #:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#@{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup @{ \bold $markp @}
+#@})
+
+#(set-global-staff-size 23)
+\layout@{
+ \context @{ \Score
+ \override MetronomeMark #'extra-offset = #'(-9 . 0)
+ \override MetronomeMark #'padding = #'3
+ @}
+ \context @{ \Staff
+ @}
+ \context @{ \Voice
+ \override Glissando #'thickness = #3
+ \override Glissando #'gap = #0.1
+ @}
+@}
+@end example
+
+@lilypond[quote,ragged-right]
+mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
+ #:line( #:dynamic "mp" #:text #:italic "dolce" )))
+tempoMark = #(define-music-function (parser location markp) (string?)
+#{
+ \once \override Score . RehearsalMark #'self-alignment-X = #left
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
+ \mark \markup { \bold $markp }
+#})
+
+#(set-global-staff-size 23)
+\layout{
+ \context { \Score
+ \override MetronomeMark #'extra-offset = #'(-9 . 0)
+ \override MetronomeMark #'padding = #'3
+ }
+ \context { \Voice
+ \override Glissando #'thickness = #3
+ \override Glissando #'gap = #0.1
+ }
+}
+
+\relative c'' {
+ \tempo 4=50
+ a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ \once \override Score.RehearsalMark #'padding = #2.0
+ \tempoMark "Poco piu mosso"
+ cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+}
+@end lilypond
+
+Ahora, en la música, simplemente sustituyo
+@code{\include "definiciones.ly"} por
+@code{\include "publicar-web.ly"}. Por supuesto, podríamos hacer esto aún más
+práctico. Podríamos hacer un archivo @file{definiciones.ly} que contuviera
+solamente las definiciones de @code{mpdolce} y @code{tempoMark}, un archivo
+@file{web-publish.ly} que contuviera solamente la sección @code{\layout}
+que se mostró en el ejemplo, y un archivo @file{universidad.ly} que contendría
+solamente los trucos para producir la salida que le gusta a mi
+profesor. La parte más alta de @file{musica.ly} tendría entonces este aspecto:
+
+@example
+\include "definiciones.ly"
+
+%%% ¡Quitar el comentario de una sola de estas líneas!
+\include "publicar-web.ly"
+%\include "universidad.ly"
+@end example
+
+Este enfoque puede ser útil incluso si va a producir sólo un conjunto de particellas.
+Yo utilizo media docena de archivos de
+@q{hojas de estilo} para mis proyectos. Comienzo todos los archivos de música con
+@code{\include "../global.ly"}, que contiene
+
+@example
+%%% global.ly
+\version "2.11.15"
+#(ly:set-option 'point-and-click #f)
+\include "../iniciar/iniciar-definiciones.ly"
+\include "../iniciar/iniciar-disposicion.ly"
+\include "../iniciar/iniciar-cabeceras.ly"
+\include "../iniciar/iniciar-papel.ly"
+@end example
+
@node Updating old files
+@section Updating old files
-UNTRANSLATED NODE: IGNORE ME
+La sintaxis de la entrada de LilyPond cambia de manera ocasional. A
+medida que el propio LilyPond mejora, la sintaxis (el lenguaje de la
+entrada) se modifica en consonancia. A veces estos cambios se hacen
+para conseguir que la entrada sea más fácil de leer y escribir, y
+otras veces estos cambios son para dar cabida a nuevas funcionalidades
+de LilyPond.
-@section Updating old files
+LilyPond lleva incorporado un archivo que facilita esta actualización:
+@code{convert-ly}. Para ver detalles sobre cómo ejecutar este programa, consulte
+@ref{Updating files with convert-ly}.
-UNTRANSLATED NODE: IGNORE ME
+Desgraciadamente @code{convert-ly} no puede tratar todos los cambios en la entrada.
+Se ocupa de los cambios sencillos de búsqueda y sustitución (como @code{raggedright}
+que se convierte en @code{ragged-right}), pero algunos cambios son demasiado
+complicados. Los cambios de sintaxis que @code{convert-ly} es incapaz de manejar
+se relacionan en @ref{Updating files with convert-ly}.
-@node Troubleshooting (taking it all apart)
+Por ejemplo, en la versión 2.4 y anteriores de LilyPond, los acentos y las letras no inglesas
+se introducían utilizando LaTeX: por ejemplo,
+@samp{No\"el} (que significa @q{Navidad} en francés). En LilyPond 2.6 y siguientes, el carácter especial
+@samp{ë} debe introducirse directamente en el archivo de LilyPond como un carácter
+UTF-8. @code{convert-ly} no puede cambiar todos los caracteres especiales de LaTeX
+a caracteres de UTF-8; tendrá que actualizar manualmente
+sus archivos de LilyPond antiguos.
-UNTRANSLATED NODE: IGNORE ME
+@node Troubleshooting (taking it all apart)
@section Troubleshooting (taking it all apart)
-UNTRANSLATED NODE: IGNORE ME
+Antes o después escribirá un archivo que LilyPond no podrá compilar.
+Los mensajes que LilyPond proporciona pueden ayudarle a encontrar el
+error, pero en muchos casos tendrá que llevar a cabo algún tipo de
+investigación para determinar el origen del problema.
+
+Las herramientas más poderosas para este cometido son el
+comentario de una sola línea (indicado por @code{%}) y el comentario de bloque
+(indicado por @code{%@{ ... %@}}). Si no sabe dónde está
+el problema, comience coviertiendo grandes secciones del
+archivo de entrada en un comentario. Después de eliminar una
+sección convirtiéndola en un comentario, pruebe a compilar el
+archivo otra vez. Si funciona, entonces el problema debía estar
+en la porción que había eliminado. Si no funciona
+continúe eliminando material (transformándolo en comentarios)
+hasta que tenga algo que funcione.
+
+En un caso extremo podría terminar con sólo
+
+@example
+\score @{
+ <<
+ % \melodia
+ % \harmonia
+ % \bajo
+ >>
+ \layout@{@}
+@}
+@end example
+
+@noindent
+(en otras palabras: un archivo sin música)
+
+Si ocurre esto, no abandone. Descomente un trozo pequeño -- digamos
+la parte del bajo -- y observe si funciona. Si no es así,
+transforme en comentarios toda la música del bajo (pero deje el
+@code{\bajo} de la sección @code{\score} no comentado.
+
+@example
+bajo = \relative c' @{
+%@{
+ c4 c c c
+ d d d d
+%@}
+@}
+@end example
+
+Ahora empiece poco a poco descomentando cada vez más fracciones de la
+parte del @code{bajo} hasta que encuentre la línea del problema.
+
+Otra técnica de depuración muy útil es la construcción de
+@ref{Minimal examples}.
+
@node Minimal examples
+@section Minimal examples
-UNTRANSLATED NODE: IGNORE ME
+Un ejemplo mínimo es un ejemplo tan pequeño como sea posible. Estos
+ejemplos son mucho más fáciles de comprender que los ejemplos largos. Los ejemplos
+mínimos se utilizan para
-@section Minimal examples
+@itemize
+@item Informes de fallo
+@item Solicitudes de ayuda a las listas de correo
+@item Añadir ejemplos al @uref{http://lsr@/.dsi@/.unimi@/.it/,Repositorio de Fragmentos de Código de LilyPond}
+@end itemize
+
+Para construir un ejemplo que sea lo más pequeño posible, la regla es
+bastante simple: quite todo lo que no sea necesario. Al tratar de
+quitar partes innecesarias de un archivo, es una buena idea convertir líneas en
+comentarios en vez de borrarlas. De esta forma, si descubre que en realidad
+sí @emph{necesitaba} algunas de estas líneas, podrá descomentarlas y no tendrá que
+teclearlas de nuevo partiendo de cero.
+
+Existen dos excepciones a la regla del @qq{lo más pequeño posible}:
+
+@itemize
+@item Incluya el número de @code{\version}.
+@item Si puede, ponga @code{\paper@{ ragged-right=##t @}} al principio del ejemplo.
+@end itemize
+
+En resumen, el objetivo de un ejemplo mínimo es que sea fácil de leer:
+
+@itemize
+@item Evite usar notas, tonalidades o compases demasiado complicados, a no ser que quiera
+demostrar algo sobre el comportamiento de estos elementos precisamente.
+@item No use comandos @code{\override} a no ser que ése sea el propósito del ejemplo.
+@end itemize
-UNTRANSLATED NODE: IGNORE ME
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