From: Francisco Vila Date: Tue, 16 Nov 2010 14:28:41 +0000 (+0100) Subject: Doc: update some snippets from Notation. X-Git-Tag: release/2.13.40-1~18 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=411485a9d27fc8161de0e14ae7908f3fe45964d9;p=lilypond.git Doc: update some snippets from Notation. --- diff --git a/Documentation/de/notation/ancient.itely b/Documentation/de/notation/ancient.itely index a9759df075..dcbf496a79 100644 --- a/Documentation/de/notation/ancient.itely +++ b/Documentation/de/notation/ancient.itely @@ -1327,11 +1327,11 @@ Vaticana-Stils zur Verfügung gestellt. \override TextScript #'font-family = #'typewriter \override TextScript #'font-shape = #'upright \override Script #'padding = #-0.1 - a\ictus_"ictus" \bar "" \break - a\circulus_"circulus" \bar "" \break - a\semicirculus_"semicirculus" \bar "" \break - a\accentus_"accentus" \bar "" \break - \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \] + a\ictus_"ictus " \bar "" \break + a\circulus_"circulus " \bar "" \break + a\semicirculus_"semicirculus " \bar "" \break + a\accentus_"accentus " \bar "" \break + \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \] } } @end lilypond diff --git a/Documentation/de/notation/cheatsheet.itely b/Documentation/de/notation/cheatsheet.itely index bb549e7c27..2c27cbae8a 100644 --- a/Documentation/de/notation/cheatsheet.itely +++ b/Documentation/de/notation/cheatsheet.itely @@ -164,11 +164,11 @@ a8-[ b-] @lilypond[relative=1] << \new Staff { \set Staff.implicitTimeSignatureVisibility = #all-invisible - c'1 + c1 } \new Staff { \set Staff.implicitTimeSignatureVisibility = #all-invisible - c'1 + c1 } >> @end lilypond diff --git a/Documentation/de/notation/chords.itely b/Documentation/de/notation/chords.itely index a01890d3a5..a5f0b35b2a 100644 --- a/Documentation/de/notation/chords.itely +++ b/Documentation/de/notation/chords.itely @@ -153,7 +153,7 @@ Moll- übermäßige und verminderte Dreiklänge werden notiert, indem Septakkorde können erstellt werden: -@lilypond[quote,ragged-right,fragment,verbatim] +@lilypond[quote,ragged-right,verbatim] \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 } @end lilypond @@ -428,9 +428,7 @@ weil @code{5+} zuletzt gelesen wird. @cindex Cluster @lilypond[quote,ragged-right,verbatim] -\chordmode { - c:5.5-.5+ -} +\chordmode { c1:5.5-.5+ } @end lilypond Nur die zweite Umkehrung kann erstellt werden, indem eine diff --git a/Documentation/de/notation/fretted-strings.itely b/Documentation/de/notation/fretted-strings.itely index 2a65242376..590adf2adf 100644 --- a/Documentation/de/notation/fretted-strings.itely +++ b/Documentation/de/notation/fretted-strings.itely @@ -851,16 +851,15 @@ unterste Bund im Diagramm. @c \override is necessary to make fingering visible @lilypond[quote, verbatim] << - \context ChordNames { - \chordmode { - f1 g c - } - } + \context ChordNames { + \chordmode { + f1 g c + } + } \context Staff { \clef "treble_8" \override Voice.TextScript #'(fret-diagram-details finger-code) = #'below-string - 1^\markup { \fret-diagram-verbose #'( (place-fret 6 1) diff --git a/Documentation/de/notation/input.itely b/Documentation/de/notation/input.itely index a3eaec832a..cdfb94ff60 100644 --- a/Documentation/de/notation/input.itely +++ b/Documentation/de/notation/input.itely @@ -1324,7 +1324,7 @@ erfordert manchmal weniger Schreibarbeit: music = \relative g' { g8. c32 d \tag #'trills { d8.\trill } - \tag #'expand { \repeat unfold 3 { e32 d } } + \tag #'expand {\repeat unfold 3 { e32 d } } c32 d } @@ -1664,7 +1664,6 @@ c8 d e8 e e e e e e e \set Score.skipTypesetting = ##f c8 d b bes a g c2 - @end lilypond In polyphoner Notation wirkt sich @code{Score.skipTypesetting} auf diff --git a/Documentation/de/notation/staff.itely b/Documentation/de/notation/staff.itely index 4d1842db42..54448dd7f8 100644 --- a/Documentation/de/notation/staff.itely +++ b/Documentation/de/notation/staff.itely @@ -1317,20 +1317,22 @@ werden, kann auch ausgegeben werden, wenn die Eigenschaft @code{instrumentCueName} im @code{CueVoice}-Kontext definiert wird. @lilypond[verbatim,quote] -oboe = \relative c''' { - g4 r8 e16 f e4 d +flute = \relative c'' { + r2. c4 d8 c d e fis2 g2 d2 +} +bassoon = \relative c { + \clef bass + R1 + \clef treble + s1*0^\markup { \tiny "flute" } + \cueDuring #"flute" #UP { R1 } + \clef bass + g4. b8 d2 +} +\addQuote "flute" { \flute } +\new Staff { + \bassoon } -\addQuote "oboe" { \oboe } - -\new Staff \relative c'' << - \new CueVoice \with { - instrumentCueName = "ob." - } - \new Voice { - \cueDuring #"oboe" #UP { R1 } - g4. b8 d2 - } ->> @end lilypond @cindex Entfernen von Stichnoten @@ -1356,17 +1358,33 @@ Stichnoten von einer Stimme entfernt werden sollen, aber in einer anderen Edition benötigt werden. @lilypond[verbatim,quote] -flute = \relative c''' { - r2 cis2 r2 dis2 +flute = \relative c'' { + r2. c4 d8 c d e fis2 g2 d2 +} +bassoon = \relative c { + \clef bass + R1 + \tag #'part { + \clef treble + s1*0^\markup { \tiny "flute" } + } + \cueDuring #"flute" #UP { R1 } + \tag #'part \clef bass + g4. b8 d2 } \addQuote "flute" { \flute } -\new Voice \relative c'' { - \killCues { - \cueDuring #"flute" #UP { R1 } - g4. b8 d2 - } +\new Staff { + \bassoon } +\new StaffGroup << + \new Staff { + \flute + } + \new Staff { + \removeWithTag #'part { \killCues { \bassoon } } + } +>> @end lilypond Der @code{\transposedCueDuring}-Befehl bietet sich an, wenn man @@ -1382,20 +1400,21 @@ piccolo = \relative c''' { \clef "treble^8" R1 c8 c c e g2 - a4 g g2 + c4 g g2 } -\addQuote "piccolo" { \piccolo } - -cbassoon = \relative c, { - \clef "bass_8" - c4 r g r - \transposedCueDuring #"piccolo" #UP c,, { R1 } - c4 r g r +bassClarinet = \relative c' { + \key d \major + \transposition bes, + d4 r a r + \transposedCueDuring #"piccolo" #UP d { R1 } + d4 r a r } +\addQuote "piccolo" { \piccolo } + << - \new Staff = "piccolo" \piccolo - \new Staff = "cbassoon" \cbassoon + \new Staff \piccolo + \new Staff \bassClarinet >> @end lilypond diff --git a/Documentation/de/notation/text.itely b/Documentation/de/notation/text.itely index a64b5f671b..b9eff1c6dc 100644 --- a/Documentation/de/notation/text.itely +++ b/Documentation/de/notation/text.itely @@ -70,7 +70,7 @@ Notensystem platziert werden, die Syntax hierzu ist beschrieben in @ref{Richtung und Platzierung}. @lilypond[quote,verbatim,relative=2] -d8^"pizz." g f e a4-"scherz." f +a8^"pizz." g f e a4-"scherz." f @end lilypond Diese Syntax ist eine Kurzform, komplexere Formatierungen @@ -270,7 +270,7 @@ zu platzieren, weitere Formatierungsmöglichkeiten sind mit dem @code{\markup}-Befehl gegeben, wie beschrieben in @ref{Text formatieren}: -@lilypond[fragment,quote,relative=1] +@lilypond[quote,verbatim,relative=1] 1 \mark \markup { \italic { colla parte } } 2 @@ -284,7 +284,7 @@ Symbol mit dem Befehl @code{\musicglyph} angegeben wird, wie beschrieben in @ref{Musikalische Notation innerhalb einer Textbeschriftung}: -@lilypond[fragment,quote,relative=2] +@lilypond[quote,verbatim,relative=2] 2 \mark \markup { \musicglyph #"scripts.ufermata" } 1 @@ -297,7 +297,7 @@ Ende notiert werden, werden sie zwischen Noten oder über der Taktlinie gesetzt. Wenn sie an einem Zeilenumbruch angegeben werden, wird das Zeichen zu Beginn der nächsten Zeile ausgegeben. -@lilypond[fragment,quote,relative=2] +@lilypond[quote,verbatim,relative=2] \mark "Allegro" c1 c \mark "assai" \break @@ -959,7 +959,7 @@ linksbündig oder im Blocksatz, wie das nächste Beispiel illustriert: \line \bold { Acto I } \wordwrap \italic { (La escena representa el corral de una casa de - gitanos en el Albaicín de Granada. Al fondo una + gitanos en el Albaicín de Granada. Al fondo una puerta por la que se ve el negro interior de una Fragua, iluminado por los rojos resplandores del fuego.) @@ -969,7 +969,7 @@ linksbündig oder im Blocksatz, wie das nächste Beispiel illustriert: \line \bold { Acto II } \override #'(line-width . 50) \justify \italic { - (Calle de Granada. Fachada de la casa de Carmela + (Calle de Granada. Fachada de la casa de Carmela y su hermano Manuel con grandes ventanas abiertas a través de las que se ve el patio donde se celebra una alegre fiesta) @@ -1302,7 +1302,7 @@ eine @code{\layout}-Umgebung haben, wie in diesem Beispiel: @lilypond[quote,verbatim,relative=1] c4 d^\markup { \score { - \relative { c4 d e f } + \relative c' { c4 d e f } \layout { } } } @@ -1486,13 +1486,13 @@ Der Wert, der @code{font-size} übergeben wird, entspricht der geforderten Änderung in Bezug auf die Standardschriftgröße. @lilypond[quote,verbatim,relative=2] - \override Score.RehearsalMark #'font-family = #'typewriter - \mark \markup "Ouverture" - \override Voice.TextScript #'font-shape = #'italic - \override Voice.TextScript #'font-series = #'bold - d'2.^\markup "Allegro" - \override Voice.TextScript #'font-size = #-3 - c4^smaller +\override Score.RehearsalMark #'font-family = #'typewriter +\mark \markup "Ouverture" +\override Voice.TextScript #'font-shape = #'italic +\override Voice.TextScript #'font-series = #'bold +d2.^\markup "Allegro" +\override Voice.TextScript #'font-size = #-3 +c4^smaller @end lilypond @noindent diff --git a/Documentation/es/notation/staff.itely b/Documentation/es/notation/staff.itely index d3bbcff780..2390e9a921 100644 --- a/Documentation/es/notation/staff.itely +++ b/Documentation/es/notation/staff.itely @@ -1272,20 +1272,22 @@ estableciendo la propiedad @code{instrumentCueName} en el contexto @code{CueVoice}. @lilypond[verbatim,quote] -oboe = \relative c''' { - g4 r8 e16 f e4 d +flute = \relative c'' { + r2. c4 d8 c d e fis2 g2 d2 +} +bassoon = \relative c { + \clef bass + R1 + \clef treble + s1*0^\markup { \tiny "flute" } + \cueDuring #"flute" #UP { R1 } + \clef bass + g4. b8 d2 +} +\addQuote "flute" { \flute } +\new Staff { + \bassoon } -\addQuote "oboe" { \oboe } - -\new Staff \relative c'' << - \new CueVoice \with { - instrumentCueName = "ob." - } - \new Voice { - \cueDuring #"oboe" #UP { R1 } - g4. b8 d2 - } ->> @end lilypond @cindex quitar notas guía @@ -1309,17 +1311,33 @@ musical. Esto puede ser útil si las notas guía se tienen que eliminar de una particella pero posiblemente se deban reponer más tarde. @lilypond[verbatim,quote] -flute = \relative c''' { - r2 cis2 r2 dis2 +flute = \relative c'' { + r2. c4 d8 c d e fis2 g2 d2 +} +bassoon = \relative c { + \clef bass + R1 + \tag #'part { + \clef treble + s1*0^\markup { \tiny "flute" } + } + \cueDuring #"flute" #UP { R1 } + \tag #'part \clef bass + g4. b8 d2 } \addQuote "flute" { \flute } -\new Voice \relative c'' { - \killCues { - \cueDuring #"flute" #UP { R1 } - g4. b8 d2 - } +\new Staff { + \bassoon } +\new StaffGroup << + \new Staff { + \flute + } + \new Staff { + \removeWithTag #'part { \killCues { \bassoon } } + } +>> @end lilypond La instrucción @code{\transposedCueDuring} es útil para añadir guías @@ -1334,20 +1352,21 @@ piccolo = \relative c''' { \clef "treble^8" R1 c8 c c e g2 - a4 g g2 + c4 g g2 } -\addQuote "piccolo" { \piccolo } - -cbassoon = \relative c, { - \clef "bass_8" - c4 r g r - \transposedCueDuring #"piccolo" #UP c,, { R1 } - c4 r g r +bassClarinet = \relative c' { + \key d \major + \transposition bes, + d4 r a r + \transposedCueDuring #"piccolo" #UP d { R1 } + d4 r a r } +\addQuote "piccolo" { \piccolo } + << - \new Staff = "piccolo" \piccolo - \new Staff = "cbassoon" \cbassoon + \new Staff \piccolo + \new Staff \bassClarinet >> @end lilypond