From: fred Date: Wed, 27 Mar 2002 01:19:33 +0000 (+0000) Subject: lilypond-1.4.2 X-Git-Tag: release/1.5.59~624 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=d723a32cd579027a2b7dddc0b5c5ac6e9374ad89;p=lilypond.git lilypond-1.4.2 --- diff --git a/CHANGES b/CHANGES index a2aff5fc2b..6eadd90664 100644 --- a/CHANGES +++ b/CHANGES @@ -1,3 +1,51 @@ +1.4.1.jcn4 +========== + +* Glossary fixes (Thanks Jean-Pierre Coulon). + +1.4.1.jcn3 +========== + +* Updated les-nereides. + +* Added \newpage command. + +* Doco fixes. + +* Debian make fix. + +* Fix for index, small doco fixes. + +* Bugfix: use roman font (instead of feta) for unacorda pedal. + +* Don't use cyclic symlinks for web doc. + +* Don't create `empty pngs' with touch, make symlinks instead. + +* Added extra header titling fields to ly2dvi too. + +1.4.1.mb2 +========= + +* documentation fixes + +* Add make rule to avoid problems building dvi documentation + +* Documentation fixes + +* Bugfix: tuplet-number-visibility + +1.4.1.hwn1 +========== + +* Do not lengthen the stem in case of a collision with the flag, but +move dots to the right. + +* Debian patches (Thanks, Anthony!) + +1.4.1 +===== + 1.4.0.jcn7 ========== diff --git a/Documentation/user/glossary.tely b/Documentation/user/glossary.tely index f043ecf4b5..3abaec6594 100644 --- a/Documentation/user/glossary.tely +++ b/Documentation/user/glossary.tely @@ -10,7 +10,7 @@ @ignore glossary by Christian Mondrup - spanish by David González + spanish by David Gonz@'alez @end ignore @@ -54,8 +54,10 @@ ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, The stress of one tone over others. +@c F: how to distinguish between accidental and key-sig alteration? + @item accidental -ES: alteración, I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen, +ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen, Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt f@"ortecken, N: @@ -178,8 +180,8 @@ An appoggiatura may have more notes preceding the main note. \grace { [as16 ( bes] } < ) c4 as > \grace { [as16 ( bes] } < ) c4 as > \bar "||" \grace { bes16 } as8_"performance" as16 bes as8 g | - < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. } - \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } > + < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. } + \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } > \bar "||" } @end lilypond @@ -243,19 +245,20 @@ ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, maatstreep, DK: taktstreg, S: taktstreck, N: @item bar -ES: compás, @w{@ar{}@strong{measure}} +ES: comp@'as, @w{@ar{}@strong{measure}} @item baritone -ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N: +ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N: baryton. The male voice intermediate between the @w{@ar{}@strong{bass}} and the @w{@ar{}@strong{tenor}}. +@c F: clef de troisi@`eme ligne dropped + @item baritone clef ES: clave de fa en tercera -I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme -ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S: +I: chiave di baritono, F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S: barytonklav, N: . C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}} @@ -449,7 +452,7 @@ chords are denoted open chords @end lilypond @item chromatic scale -ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL: +ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: . A scale consisting of all 11 @w{@ar{}@strong{semitone}}s. @@ -467,7 +470,7 @@ kromatik, N: Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major). -@item church mode; ecclesiastical mode ES: modo eclesiástico, I: modo +@item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, N: @@ -659,7 +662,7 @@ fallande intervall, N: An distance between a starting higher note and a lower ending note. @item diatonic scale -ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: +ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N: A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2 @@ -827,7 +830,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and @end lilypond @item diminished interval -ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall, +ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: f@"orminskat intervall, N: . @@ -873,7 +876,7 @@ dominantnoneakkord, S: dominantnonackord, N: . @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}} @item dominant seventh chord -ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D: +ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D: Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: dominantseptimackord, N: @@ -886,7 +889,7 @@ dominant, N: . The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}} @item dorian mode -ES: modo dórico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische +ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N: @w{@ar{}@strong{diatonic scale}} @@ -953,7 +956,7 @@ ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: . @w{@ar{}@strong{note value}} @item duration -ES: duración, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: +ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: tonl@"angd, N: . @w{@ar{}@strong{note value}} @@ -988,7 +991,7 @@ The traditional process of music printing is done through cutting in a plate of metal. Now also the term for the art of music typesetting. @item enharmonic -ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: +ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: enharmonisk, S: enharmonisk, N: . Two notes, intervals, or scales are enharmonic if they have different names @@ -1062,8 +1065,11 @@ octave lower (for example on double bass @w{@ar{}@strong{strings}}). } @end lilypond +@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + @item fermata -ES: Calderón, I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: . +ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et, +D: Fermate, NL: fermate, DK: fermat, S: fermat, N: . Prolonged note or rest of indefinite duration. @@ -1084,7 +1090,7 @@ kvint. ES: bajo cifrado, @w{@ar{}@strong{thorough bass}} @item fingering -ES: digitación, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK: +ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK: fingers@ae{}tning, S: fingers@"attning, N: . The methodical use of fingers in the playing of instruments. @@ -1134,7 +1140,7 @@ ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: . @w{@ar{}@strong{counterpoint}} @item functional harmony -ES: armonía funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK: +ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK: funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N: A system of harmonic analysis. It is based on the idea that, in a given key, @@ -1150,7 +1156,7 @@ of the base chords. \property Score.LyricText \set #'font-style = #'large \property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c'' { +\context Voice \notes\relative c'' { < g1 e c > < a f d > < b g e > < c a f > < d b g > < e c a > < f d b > } \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" } @@ -1234,7 +1240,7 @@ rust, DK: halvnodespause, S: halvpaus, N: . @w{@ar{}@strong{note value}} @item harmonic cadence -ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: +ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: . Sequence of chords that terminate a musical phrase or @@ -1258,7 +1264,7 @@ section. @ar{}@w{}@strong{functional harmony} @end lilypond @item harmony -ES: armonía , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: +ES: armon@'{@dotless{i}}a , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: samklang, N: Tones sounding simultaneously. Two note harmonies fall into the cathegories @@ -1271,7 +1277,7 @@ Consonances: @lilypond[13pt,eps] \property Score.barNonAuto = ##t \property Score.TextScript \set #'font-style = #'large -\notes\relative c'' { +\context Voice \notes\relative c'' { s s s @@ -1289,7 +1295,7 @@ Dissonances: @lilypond[13pt,eps] \property Score.barNonAuto = ##t \property Score.TextScript \set #'font-style = #'large -\notes\relative c'' { +\context Voice \notes\relative c'' { s s s s @@ -1299,7 +1305,7 @@ Dissonances: Three note harmony @w{@ar{}@strong{chord}} @item homophony -ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: +ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, N: . Music in which one voice leads melodically followed by the other voices more @@ -1322,7 +1328,7 @@ forms an octave. \property Score.LyricText \set #'font-style = #'large \property Score.TextScript \set #'font-style = #'large \addlyrics -\context Staff \notes\relative c'' { +\context Voice \notes\relative c'' { < g1 g > s < g^"minor" as > s < g^"major" a! > s @@ -1435,7 +1441,7 @@ upwards) to the tonic scale degree. @item ledger line; leger line -ES: líneas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL: +ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL: hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: . A ledger line is an extension of the staff. @@ -1482,7 +1488,7 @@ le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: . A pond with lilies floating in it, also the name of a music typesetter. @item line -ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: +ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, N: . @w{@ar{}@strong{staff}} @@ -1529,7 +1535,7 @@ by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this tuning keyboard instruments for performance of pre-1650 music. @item measure, bar -ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. +ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which bears an accent. Such groups in numbers of two or more recur consistently @@ -1550,7 +1556,7 @@ harmony}} @w{@ar{}@strong{relative key}}. @w{@ar{}@strong{cadenza}} @item meter, time -ES: compás, I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart, +ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, S: taktart, N: . The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s @@ -1587,14 +1593,14 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or @end lilypond @item metronome -ES: metrónomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, +ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom. Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic indication}} @item metronomic indication -ES: indicación metronómica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe, +ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe, NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: . Exact tempo indication (in beats per minute). Also denoted by @@ -1642,7 +1648,7 @@ ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}} @item modulation -ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, +ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, S: modulering, N: . Moving from one @w{@ar{}@strong{key}} to another. For example the second @@ -1879,7 +1885,7 @@ or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single melodic line of the contrapuntal web. @item percussion -ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: +ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: slagverk, N: . A family of musical instruments which are played on by striking or @@ -1924,7 +1930,7 @@ pizzicato, S: pizzicato. Play by plucking the strings. @item polyphony -ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S: +ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S: polyfoni, N: . Music written in a combination of several simultaneous voices (parts) of a @@ -1941,7 +1947,7 @@ Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo} denotes the highest possible degree of speed. @item Pythagorean comma -ES: coma pitagórico, +ES: coma pitag@'orico, I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL: komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: . @@ -1969,7 +1975,7 @@ kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: . @w{@ar{}@strong{note value}} @item quintuplet -ES: quintillo, I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S: +ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, N: . @w{@ar{}@strong{note value}} @@ -2002,7 +2008,7 @@ the same @w{@ar{}@strong{signature}}. @end lilypond @item repeat -ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: +ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: gen@-ta@-gel@-se, S: repris, N: . @ @@ -2015,6 +2021,8 @@ gen@-ta@-gel@-se, S: repris, N: . } @end lilypond +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. @item rest ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: . @@ -2108,7 +2116,7 @@ semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}} @end lilypond @item seventh -ES: séptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . +ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . @w{@ar{}@strong{interval}} @@ -2299,13 +2307,13 @@ superdominant, S: superdominant, N: . The sixth @w{@ar{}@strong{scale degree}} @item supertonic -ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: +ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: supertonika, S: supertonika, N: . The second @w{@ar{}@strong{scale degree}}. @item symphony -ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, +ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, N: . A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra. @@ -2356,7 +2364,7 @@ intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal temperament}} @item tempo indication -ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{}, +ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{}, Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, N: . @@ -2371,7 +2379,7 @@ ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: . The highest voice of men (apart from @w{@ar{}@strong{counter tenor}}) @item tenth -ES: décima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: . +ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: . @w{@ar{}@strong{note value}} @@ -2437,7 +2445,7 @@ with figures designating the chief @w{@ar{}@strong{interval}}s and @end lilypond @item tie; bind -ES: ligadura de prolongación, +ES: ligadura de prolongaci@'on, I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK: bindebue, S: bindeb@aa{}ge, @"overbindning, N: . @@ -2454,7 +2462,7 @@ uniting them into a single sound equal to the combined durations. @item time signature -ES: cifra indicadora de compás, +ES: cifra indicadora de comp@'as, I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S: taktartssignatur, N: . @@ -2474,7 +2482,7 @@ ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}} @item transposition -ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: +ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: transposition, S: transponering, N: . Shifting a melody up or down in pitch, while keeping the same relative pitches. @@ -2523,7 +2531,7 @@ a @w{@ar{}@strong{chord}}, usually in the distance of a third @end lilypond @item triad -ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: +ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N: @w{@ar{}@strong{chord}} @@ -2536,7 +2544,7 @@ triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }. @w{@ar{}@strong{ornament}} @item triple meter -ES: compás compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige +ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, N: . @w{@ar{}@strong{meter}} @@ -2547,13 +2555,13 @@ ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: trio @w{@ar{}@strong{note value}} @item tritone -ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: +ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: . @w{@ar{}@strong{interval}} @item tuning fork -ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: +ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: stemmegaffel, S: st@"amgaffel, N: . A two-pronged piece of steel used to indicate absolute pitch. Tuning forks @@ -2565,7 +2573,7 @@ I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, S: dubbelslag, N: . @item unison -ES: unísono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: +ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: unison, N: . Playing of the same notes or the same melody by various instruments (voices) @@ -2573,7 +2581,7 @@ or by the whole orchestra (choir), either at exactly the same pitch or in a different octave. @item upbeat -ES: entrada anacrúsica, I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S: +ES: entrada anacr@'usica, I: anacrusi, F: anacrouse, lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, N: Initial note(s) of a melody occurring before the first bar @@ -2598,7 +2606,7 @@ ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , of a polyphonic composition. @item weak beat -ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, +ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: . @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}} @@ -2624,7 +2632,7 @@ tones on the piano keyboard with exactly one key between them - including black and white keys - is a whole tone. @item woodwind -ES: maderas, I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, +ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S: tr@"abl@aa{}sare, N: . A family of blown wooden musical instruments. Today some of these instruments diff --git a/VERSION b/VERSION index e6420ebf80..601e00c081 100644 --- a/VERSION +++ b/VERSION @@ -1,7 +1,7 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=4 -PATCH_LEVEL=1 +PATCH_LEVEL=2 MY_PATCH_LEVEL= # use the above to send patches: MY_PATCH_LEVEL is always empty for a diff --git a/scripts/ly2dvi.py b/scripts/ly2dvi.py index 26823c489f..d6a6344995 100644 --- a/scripts/ly2dvi.py +++ b/scripts/ly2dvi.py @@ -16,7 +16,8 @@ # Note: gettext work best if we use ' for docstrings and " -# for gettextable strings +# for gettextable strings. +# --> DO NOT USE """ for docstrings. ''' TODO: @@ -77,9 +78,9 @@ except: return s -layout_fields = ['title', 'subtitle', 'subsubtitle', 'footer', 'head', - 'composer', 'arranger', 'instrument', 'opus', 'piece', 'metre', - 'meter', 'poet'] +layout_fields = ['dedication', 'title', 'subtitle', 'subsubtitle', + 'footer', 'head', 'composer', 'arranger', 'instrument', + 'opus', 'piece', 'metre', 'meter', 'poet', 'texttranslator'] # init to empty; values here take precedence over values in the file @@ -147,9 +148,9 @@ verbose_p = 0 # feta16.{afm,mf,tex,tfm}, and only set env upon failure. # environment = { - 'MFINPUTS' : ':' + datadir + '/mf', - 'TEXINPUTS': ':' + datadir + '/tex:' + datadir + '/ps', - 'TFMFONTS' : ':' + datadir + '/tfm', + 'MFINPUTS' : datadir + '/mf' + ':', + 'TEXINPUTS': datadir + '/tex:' + datadir + '/ps' + ':', + 'TFMFONTS' : datadir + '/tfm' + ':', 'GS_FONTPATH' : datadir + '/afm:' + datadir + '/pfa', 'GS_LIB' : datadir + '/ps', } @@ -191,7 +192,7 @@ def warning (s): def error (s): - """Report the error S. Exit by raising an exception. Please + '''Report the error S. Exit by raising an exception. Please do not abuse by trying to catch this error. If you donn't want a stack trace, write to the output directly. @@ -199,7 +200,7 @@ def error (s): None - """ + ''' progress (_ ("error: ") + s) raise _ ("Exiting ... ")