From d36171e34d236d890f5dc511b895037188c6c7cb Mon Sep 17 00:00:00 2001 From: David Kastrup Date: Sun, 17 May 2015 19:28:06 +0200 Subject: [PATCH] Run scripts/auxiliar/update-with-convert-ly.sh Afterwards revert all changes in Documentation/snippets/*.ly (thus retaining Documentation/snippets/new), then run scripts/auxiliar/makelsr.py, leaving only the files in Documentation/snippets/new and their versions in Documentation/snippets converted: if we don't want to retain the automatic conversion rule, we only want to keep those files which do not get reconverted on reimport. --- .../ca/learning/common-notation.itely | 68 ++-- Documentation/ca/learning/fundamental.itely | 216 ++++++------- Documentation/ca/learning/tutorial.itely | 46 +-- Documentation/ca/learning/tweaks.itely | 106 +++---- Documentation/ca/usage/running.itely | 6 +- Documentation/ca/usage/suggestions.itely | 14 +- .../cs/learning/common-notation.itely | 68 ++-- Documentation/cs/learning/fundamental.itely | 220 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input/regression/script-tie-collision.ly | 6 +- input/regression/semi-tie-cross-staff.ly | 6 +- input/regression/shape-other-curves.ly | 6 +- input/regression/shape-slurs.ly | 6 +- input/regression/shorthands.ly | 6 +- input/regression/skip-of-length.ly | 6 +- input/regression/skiptypesetting-bar-check.ly | 6 +- input/regression/slur-broken-trend.ly | 10 +- input/regression/slur-cross-staff-beam.ly | 4 +- input/regression/slur-dot-collision.ly | 4 +- input/regression/slur-dots.ly | 6 +- input/regression/slur-dynamics.ly | 4 +- input/regression/slur-grace.ly | 6 +- input/regression/slur-height-capping.ly | 4 +- input/regression/slur-multiple-linebreak.ly | 10 +- input/regression/slur-multiple.ly | 6 +- input/regression/slur-rest.ly | 6 +- input/regression/slur-script.ly | 4 +- input/regression/slur-shift-region.ly | 6 +- input/regression/slur-tie-control-points.ly | 6 +- input/regression/slur-tilt.ly | 6 +- input/regression/slur-vertical-skylines.ly | 6 +- 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input/regression/spacing-loose-polyphony.ly | 6 +- .../spacing-non-adjacent-columns1.ly | 8 +- .../spacing-non-adjacent-columns2.ly | 8 +- input/regression/spacing-rest.ly | 6 +- input/regression/spacing-section.ly | 6 +- input/regression/spacing-short-notes.ly | 6 +- input/regression/spacing-stick-out.ly | 6 +- input/regression/spacing-to-grace.ly | 6 +- input/regression/span-bar-allow-span-bar.ly | 14 +- input/regression/span-bar-partial.ly | 6 +- input/regression/span-bar-spacing.ly | 6 +- input/regression/span-bar.ly | 4 +- input/regression/staccato-pos.ly | 6 +- input/regression/staff-halfway.ly | 6 +- .../regression/staff-online-symbol-absence.ly | 6 +- input/regression/staff-tweak.ly | 4 +- input/regression/stanza-number.ly | 4 +- input/regression/stem-direction.ly | 6 +- input/regression/stem-tremolo-position.ly | 6 +- input/regression/stem-tremolo-staff-space.ly | 6 +- input/regression/stencil-hacking.ly | 6 +- input/regression/string-number-styles.ly | 6 +- input/regression/string-number.ly | 6 +- input/regression/system-separator.ly | 6 +- .../tablature-chord-repetition-finger.ly | 4 +- .../regression/tablature-chord-repetition.ly | 4 +- input/regression/tablature-default-strings.ly | 4 +- input/regression/tablature-dot-placement.ly | 6 +- input/regression/tablature-glissando.ly | 4 +- input/regression/tablature-grace-notes.ly | 4 +- input/regression/tablature-harmonic-tie.ly | 6 +- input/regression/tablature-harmonic.ly | 6 +- input/regression/tablature-letter.ly | 6 +- input/regression/tablature-negative-fret.ly | 6 +- input/regression/tablature-slide.ly | 6 +- input/regression/tablature-string-tunings.ly | 4 +- input/regression/tablature-tie-behaviour.ly | 8 +- input/regression/tag-filter.ly | 6 +- input/regression/test-output-distance.ly | 4 +- input/regression/text-spanner-full-rest.ly | 6 +- .../regression/text-spanner-override-order.ly | 6 +- input/regression/tie-arpeggio-collision.ly | 6 +- input/regression/tie-arpeggio.ly | 6 +- input/regression/tie-broken.ly | 4 +- input/regression/tie-chord-broken-extremal.ly | 6 +- input/regression/tie-chord-debug.ly | 6 +- input/regression/tie-chord-partial.ly | 6 +- input/regression/tie-chord.ly | 6 +- input/regression/tie-direction-broken.ly | 6 +- input/regression/tie-direction-manual.ly | 6 +- input/regression/tie-dot.ly | 6 +- input/regression/tie-grace.ly | 6 +- input/regression/tie-manual.ly | 6 +- input/regression/tie-single-chord.ly | 6 +- input/regression/tie-single.ly | 6 +- input/regression/tie-unterminated.ly | 6 +- input/regression/tie-whole.ly | 6 +- input/regression/trill-spanner-auto-stop.ly | 6 +- input/regression/trill-spanner-chained.ly | 6 +- input/regression/trill-spanner-grace.ly | 6 +- input/regression/trill-spanner-scaled.ly | 10 +- input/regression/trill-spanner.ly | 6 +- input/regression/typography-demo.ly | 4 +- input/regression/utf-8.ly | 6 +- input/regression/volta-markup-text.ly | 6 +- .../warn-expected-warning-missing.ly | 4 +- input/regression/woodwind-diagrams-empty.ly | 34 +- input/regression/zero-staff-space.ly | 6 +- ly/Welcome-to-LilyPond-MacOS.ly | 6 +- ly/Welcome_to_LilyPond.ly | 6 +- 623 files changed, 6359 insertions(+), 6359 deletions(-) diff --git a/Documentation/ca/learning/common-notation.itely b/Documentation/ca/learning/common-notation.itely index e08333b9fb..fa380958ec 100644 --- a/Documentation/ca/learning/common-notation.itely +++ b/Documentation/ca/learning/common-notation.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: (different from policy.txt!) @@ -795,9 +795,9 @@ l'exemple que segueix, tres seqüències (cadascuna de les quals conté dues notes diferents) es combinen de forma simultà nia: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -827,8 +827,8 @@ expressió complexa, però com comença amb una sola nota, es disposa sobre un sols pentagrama. @lilypond[verbatim,quote] -\relative c'' { - c2 <> | +\relative { + c''2 <> | << { e2 f } { c2 <> } >> | } @end lilypond @@ -866,9 +866,9 @@ abans d'ell. Aquests elements @code{Staff} es combinen després en paral·lel amb @code{<<} y @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -899,9 +899,9 @@ de què les partitures amb instruments transpositors són més comunes que les partitures polirÃtmiques. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -944,9 +944,9 @@ cas l'expressió completa es col·loca dins d'un @code{PianoStaff}: Heus aquà un petit exemple: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -1069,10 +1069,10 @@ Presentem a continuació l'inici de la melodia d'una cançó infantil, @qq{Girls and boys come out to play}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -1082,10 +1082,10 @@ separant cada sÃl·laba mitjançant un espai. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { Girls and boys come | out to play, @@ -1119,10 +1119,10 @@ shine as bright as day}. A continuació l'ampliarem: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1155,10 +1155,10 @@ lligadura d'expressió sobre elles (vegeu @ref{Lligadures d'unió i d'expressió @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1176,10 +1176,10 @@ detalls consulteu @ref{Barres automà tiques i manuals}. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1196,10 +1196,10 @@ melisma: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1219,10 +1219,10 @@ Enees} de Purcell: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1273,11 +1273,11 @@ del @notation{Barber de Sevilla} de Rossini, on la sÃl·laba @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1386,13 +1386,13 @@ usar posteriorment col·locant una barra invertida davant del nom @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1550,10 +1550,10 @@ serà origen de nombrosos errors. Amb @code{\relative}, l'exemple anterior és molt més fà cil de llegir: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond @@ -1575,7 +1575,7 @@ usant @code{\relative} dins de @code{\relative}, les seccions relatives externa i interna són independents: @lilypond[verbatim,quote] -\relative c { c'4 \relative c'' { f g } c } +\relative { c'4 \relative { f'' g } c } @end lilypond @funindex \absolute @@ -1585,7 +1585,7 @@ instrucció @code{\absolute} per evitar que s'incorpori a la música relativa: @lilypond[verbatim,quote] -\relative c { c'4 \absolute { f'' g'' } c } +\relative { c'4 \absolute { f'' g'' } c } @end lilypond @node Més enllà del tutorial diff --git a/Documentation/ca/learning/fundamental.itely b/Documentation/ca/learning/fundamental.itely index 18916186ab..59ddb2ecc8 100644 --- a/Documentation/ca/learning/fundamental.itely +++ b/Documentation/ca/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Conceptes fonamentals @chapter Conceptes fonamentals @@ -89,8 +89,8 @@ quan li proporcionem una entrada senzilla. El LilyPond tracta una entrada com aquesta: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -102,8 +102,8 @@ com una abreviatura d'aquesta altra: \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -242,8 +242,8 @@ variables com es mostra a @ref{Organitzar les peces mitjançant variables}. Totes les plantilles fan servir el següent: @example -melodia = \relative c' @{ - c4 a b c +melodia = \relative @{ + c'4 a b c @} \score @{ @@ -371,8 +371,8 @@ claudà tors que segueixen a @code{\new Voice = "vocal"}, podrÃem començar escrivint @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -392,10 +392,10 @@ Aixà doncs, tot escrivint algunes notes, i una clau de Fa per a la mà esquerra, ara tenim un fragment musical de debò: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { 2~ } -lower = \relative c { b2 e } +upper = \relative { 2~ } +lower = \relative { b,2 e } \score { << @@ -444,8 +444,8 @@ notes: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -471,8 +471,8 @@ manera següent: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -720,9 +720,9 @@ de les lligadures, pliques, matisos dinà mics, etc., s'ajusta de forma correcta. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Veu principal - c16 d e f + c'16 d e f % Veu "1" Veu "2" Veu "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -746,9 +746,9 @@ lligades es poden dividir entre les mateixes veus de dues construccions, com s'indica aquà a la veu de triangles blaus. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Veu principal - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -840,10 +840,10 @@ li sembli misteriós i tan sols es concentri a la música i les veus @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Veu u - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { % Ignoreu aquestes expressions per ara, s'explicaran al Cap. 4 @@ -918,10 +918,10 @@ après, usant la construcció @code{<< \\ >>} per introduir la música del primer compà s a tres veus: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { 2 des } \\ { aes'2 f4 fes } + { c''2 aes4. bes8 } \\ { 2 des } \\ { aes'2 f4 fes } >> | 1 | } @@ -942,10 +942,10 @@ veu quatre. Això es fa escrivint un altre parell de barres invertides (@code{\\}). @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Veu u - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Veu dos { 2 des } \\ % Omet Veu tres @@ -1009,8 +1009,8 @@ prèvia: @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1020,8 +1020,8 @@ equival a @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1030,8 +1030,8 @@ Els dos exemples anteriors produeixen: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1054,9 +1054,9 @@ l'escriptura, les lligadures d'unió i d'expressió i les indicacions de dinà mica: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Comportament predeterminat o comportament després de \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1128,8 +1128,8 @@ possibles, i si hi ha una veu que apareix sols breument podria haver-hi una forma més natural d'escriure la música. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e) | } \new Voice { @@ -1306,14 +1306,14 @@ que s'interpreti com a lletra i no com a música. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1367,10 +1367,10 @@ pentagrames. A d'altres exemples se li sol donar el nom de @q{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1558,8 +1558,8 @@ prà ctica, heus aquà un exemple anotat de música real: \clef "treble" \key g \minor \new Voice { % crea la veu per a les notes de la mà dreta - \relative c'' { % inici de les notes de la mà dreta - d4 ees16 c8. | + \relative { % inici de les notes de la mà dreta + d''4 ees16 c8. | d4 ees16 c8. | } % fi de les notes de la mà dreta } % fi de la veu de la mà dreta @@ -1569,14 +1569,14 @@ prà ctica, heus aquà un exemple anotat de música real: \key g \minor \new Voice { % crea la veu de la mà esquerra \voiceOne - \relative g { % inicia les notes de la veu u de la mà esquerra + \relative { % inicia les notes de la veu u de la mà esquerra g8 ees, | g8 ees, | } % fi de les notes de la veu u de la mà esquerra } % fi de la veu u de la mà esquerra \new Voice { % crea la veu dos de la mà esquerra \voiceTwo - \relative g { % inici de les notes de la veu dos de la mà esquerra + \relative { % inici de les notes de la veu dos de la mà esquerra g4 ees | g4 ees | } % fi de les notes de la veu dos de la mà esquerra @@ -1856,8 +1856,8 @@ AixÃ, això desactivarà els bequadres addicionals a un pentagrama: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1871,8 +1871,8 @@ i això els desactivarà a tots els pentagrames: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - aeses2 aes + \new Staff \relative { + aeses'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -1951,13 +1951,13 @@ de la forma següent: @lilypond[quote,verbatim,ragged-right] << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2000,8 +2000,8 @@ continuació presentem un exemple que mostra el format: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cisis4 e d cis + \relative { + cisis''4 e d cis } } \layout { @@ -2020,13 +2020,13 @@ pentagrames de la partitura: \score { << \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } \new Staff { - \relative c'' { - gisis4 gis aeses aes + \relative { + gisis'4 gis aeses aes } } >> @@ -2093,8 +2093,8 @@ les lÃnies del pentagrama estan dibuixades pel gravador \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % fes més petits els caps de les notes e4 f | \set fontSize = #2.5 % fes més grans els caps de les notes @@ -2180,24 +2180,24 @@ pautes, podem escriure \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2264,7 +2264,7 @@ plantilla @q{Notes i lletra} (per a la part de soprano). @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2293,7 +2293,7 @@ Ara volem afegir una part de violoncel. Vegem l'exemple @example \version @w{"@version{}"} -melodia = \relative c' @{ +melodia = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2330,7 +2330,7 @@ Fa). Aixà mateix, canviarem algunes del violoncel. @example \version @w{"@version{}"} -musicaSoprano = \relative c' @{ +musicaSoprano = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2341,7 +2341,7 @@ lletraSoprano = \lyricmode @{ Aaa Bee Cee Dee @} -musicaVioloncel = \relative c @{ +musicaVioloncel = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2401,7 +2401,7 @@ fà cil solució. Presentem aquà la plantilla completa per a soprano i violoncel. @lilypond[quote,verbatim,ragged-right,addversion] -musicaSoprano = \relative c' { +musicaSoprano = \relative { \clef "treble" \key c \major \time 4/4 @@ -2412,7 +2412,7 @@ lletraSoprano = \lyricmode { Aaa Bee Cee Dee } -musicaVioloncel = \relative c { +musicaVioloncel = \relative { \clef "bass" \key c \major \time 4/4 @@ -2456,31 +2456,31 @@ aquà un exemple del «Messies» de Haendel: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -musicaSoprano = \relative c'' { +musicaSoprano = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } lletraSoprano = \lyricmode { Wor -- thy | is the lamb | that was slain | } -musicaAlto = \relative a' { +musicaAlto = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } lletraAlto = \lletraSoprano -musicaTenor = \relative c' { +musicaTenor = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } lletraTenor = \lletraSoprano -musicaBaix = \relative c' { +musicaBaix = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } lletraBaix = \lletraSoprano @@ -2693,26 +2693,26 @@ de l'exemple anterior, obtenim: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -musicaSoprano = \relative c'' { +musicaSoprano = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } lletraSoprano = \lyricmode { Wor -- thy | is the lamb | that was slain | } -musicaAlto = \relative a' { +musicaAlto = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } lletraAlto = \lletraSoprano -musicaTenor = \relative c' { +musicaTenor = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } lletraTenor = \lletraSoprano -musicaBaix = \relative c' { +musicaBaix = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } lletraBaix = \lletraSoprano upper = \relative a' { @@ -3029,19 +3029,19 @@ música, i combinar totes les parts. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -MusicaManualUVeuU = \relative g' { - g4 g f ees | +MusicaManualUVeuU = \relative { + g'4 g f ees | d2 c | } -MusicaManualUVeuDos = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +MusicaManualUVeuDos = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -MusicaManualDos= \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +MusicaManualDos= \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d ees8~ 16 f ees d | } -MusicaOrganPedal = \relative c { +MusicaOrganPedal = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3096,7 +3096,7 @@ Glossari musical: Arribats a aquest punt, heu vist coses d'aquest tipus: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3109,8 +3109,8 @@ Fins i tot us adonareu que això pot ser útil en música minimalista: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violà = \new Staff { \fragmentA \fragmentA | @@ -3194,8 +3194,8 @@ padText = \once \override TextScript.padding = #padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3229,7 +3229,7 @@ exemple, suposem que el fitxer @file{trompa.ly} conté la següent part d'un duo per a trompa i fagot: @example -notesTrompa = \relative c @{ +notesTrompa = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3267,7 +3267,7 @@ normal en@tie{}Fa. La transposició es pot veure a la següent sortida @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3325,7 +3325,7 @@ que l'altra veu es troba dins de @code{notesFagot} al fitxer el que ens porta a @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/ca/learning/tutorial.itely b/Documentation/ca/learning/tutorial.itely index be9d4fbf56..31f7435d6e 100644 --- a/Documentation/ca/learning/tutorial.itely +++ b/Documentation/ca/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @node Tutorial @chapter Tutorial @@ -242,8 +242,8 @@ espai de pentagrama des de la nota anterior. @lilypond[verbatim,quote] % set the starting point to middle C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -256,8 +256,8 @@ successivament). Podem crear melodies amb intervals més grans, fins i tot sense deixar d'utilitzar el mode relatiu: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -273,8 +273,8 @@ l'ordre @q{@w{@code{@bs{}\relative c'}}}, podem canviar l'octava d'inici: @c KEEP LY @lilypond[verbatim,quote] % una octava per sobre del Do central -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -290,8 +290,8 @@ sota. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % el Do està 1 espai per sobre, és el Do de dalt +\relative { + b' c % el Do està 1 espai per sobre, és el Do de dalt b d % el Re està 2 espais per sobre o 5 per sota, és el Re de dalt b e % el Mi està 3 espais per sobre o 4 per sota, és el Mi de dalt b a % el La està 6 espais per sobre o 1 per sota, és el La de sota @@ -313,8 +313,8 @@ una octava escrivint una coma @code{,} a continuació del nom de la nota. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -358,8 +358,8 @@ a la nota següent. La figura per omissió de la primera nota és una negra. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -370,8 +370,8 @@ número de la duració. La duració d'una nota amb puntet s'ha d'especificar de forma explÃcita (és a dir: mitjançant un número). @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -390,8 +390,8 @@ Un @notation{silenci} s'introdueix igual que si fos un anota amb el nom @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -413,9 +413,9 @@ La @notation{indicació de compà s} es pot establir amb l'ordre @code{\time} : @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -479,9 +479,9 @@ La @notation{clau} es pot establir utilitzant l'ordre @code{\clef} : @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -784,8 +784,8 @@ per generar aquesta imatge. Proveu-lo sobre aquesta imatge: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { Cliqueu aquÃ. } } +\relative { + c''4-\markup { \bold \huge { Cliqueu aquÃ. } } } @end lilypond diff --git a/Documentation/ca/learning/tweaks.itely b/Documentation/ca/learning/tweaks.itely index 5dfeb90bec..830a26f1e3 100644 --- a/Documentation/ca/learning/tweaks.itely +++ b/Documentation/ca/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node Ajustament de la sortida @chapter Ajustament de la sortida @@ -1491,8 +1491,8 @@ introduir un pentagrama temporal, com a un @rglos{ossia}. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1518,8 +1518,8 @@ segell de cadascú d'ells a @code{#f}, com segueix: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1581,8 +1581,8 @@ Aixà doncs, podem reemplaçar l'exemple anterior amb @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1607,8 +1607,8 @@ resultat següent: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1678,8 +1678,8 @@ Provem-lo en el nostre exemple de l'ossia: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1749,8 +1749,8 @@ S'usa de la següent forma: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -1880,10 +1880,10 @@ de les notes sobre pentagrames adjacents: @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -3169,8 +3169,8 @@ contingui els sÃmbols desitjats, com segueix: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } -\relative c'' { - c4 +\relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3418,10 +3418,10 @@ Chopin que present al final de @ref{Sento veus}, que vam deixar amb aquest aspecte: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { 2 des } \\ @@ -3458,10 +3458,10 @@ Presentem a continuació el resultat final: @cindex force-hshift, propietat, exemple @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { 2 \once \override NoteColumn.force-hshift = 0.5 des } \\ @@ -3498,9 +3498,9 @@ les indicacions dinà miques, les digitacions i el pedal. @c This example should not be indexed @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3540,8 +3540,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3581,9 +3581,9 @@ produeix el LilyPond de forma predeterminada: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4. g8 | + r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3607,8 +3607,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2 | +lhMusic = \relative { + r2 2 | 1 | r2. d,,4 r4 r | r4 @@ -3639,9 +3639,9 @@ estudiar al Tutorial. En fer-lo, obtenim: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3665,8 +3665,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1) | r2. d,,4 r4 r | r4 @@ -3712,9 +3712,9 @@ Amb això es completa el compà s dos, produint el següent resultat: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3740,8 +3740,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3795,9 +3795,9 @@ al final, obtenint com a resultat: @c line-width ensures no break @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3827,8 +3827,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3870,9 +3870,9 @@ dos Re. En aplicar aquests canvis obtenim: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3905,8 +3905,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3941,9 +3941,9 @@ resultat final: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3984,8 +3984,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -4260,10 +4260,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/ca/usage/running.itely b/Documentation/ca/usage/running.itely index 93d4609e74..20c12ee452 100644 --- a/Documentation/ca/usage/running.itely +++ b/Documentation/ca/usage/running.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.21" @node Execució del LilyPond @@ -1089,7 +1089,7 @@ un dels quals crea implÃcitament blocs @code{Staff} i @code{Voice}. @lilypond[quote,verbatim] \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } @end lilypond @@ -1099,7 +1099,7 @@ explÃcitament: @lilypond[quote,verbatim] \new Voice { \repeat unfold 2 { - \relative c' { c4 d e f } + \relative { c'4 d e f } } } @end lilypond diff --git a/Documentation/ca/usage/suggestions.itely b/Documentation/ca/usage/suggestions.itely index 826d716230..0e4dc47cd5 100644 --- a/Documentation/ca/usage/suggestions.itely +++ b/Documentation/ca/usage/suggestions.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.16.0" +@c \version "2.19.21" @node Suggeriments per escriure fitxers d'entrada @chapter Suggeriments per escriure fitxers d'entrada @@ -182,8 +182,8 @@ per contra, és extremadament improbable que canviï la definició de @example -violà = \relative c'' @{ -g4 c'8. e16 +violà = \relative @{ +g'4 c'8. e16 @} @dots{} \score @{ @@ -204,8 +204,8 @@ cop, i encara podrem evitar tocar res dins de @code{violÃ}. @example fdesprésp = _\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} -violà = \relative c'' @{ -g4\fluegop c'8. e16 +violà = \relative @{ +g'4\fluegop c'8. e16 @} @end example @@ -253,9 +253,9 @@ Si no és aixÃ, transformeu en comentaris tota la música del baix (però deixeu el @code{\baix} de la secció @code{\score} no comentat. @example -bajo = \relative c' @{ +bajo = \relative @{ %@{ - c4 c c c + c'4 c c c d d d d %@} @} diff --git a/Documentation/cs/learning/common-notation.itely b/Documentation/cs/learning/common-notation.itely index 49e1325d2c..88ced2b973 100644 --- a/Documentation/cs/learning/common-notation.itely +++ b/Documentation/cs/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @ignore Tutorial guidelines: @@ -680,9 +680,9 @@ SoubÄžnÄ jsou hudebnà výrazy spojeny tak, že jsou uzavÅeny uvnitÅ tÅi výrazy (každý obsahuje dvÄ oddÄlené noty): @lilypond[verbatim,quote] -\relative c'' { +\relative { << - { a2 g } + { a'2 g } { f2 e } { d2 b } >> @@ -711,8 +711,8 @@ pÅÃklad zaÄÃná jednou notou: @lilypond[verbatim,quote] -\relative c'' { - c2 <> | +\relative { + c''2 <> | << { e f } { c <> } >> | } @end lilypond @@ -750,9 +750,9 @@ osnovu) jsou potom uspoÅádány soubÄžnÄ se znaky @code{<<} a @code{>>}: @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" c4 } + \new Staff { \clef "treble" c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -787,9 +787,9 @@ notové zápisy s rozdÃlnými druhy taktů. @lilypond[verbatim,quote] -\relative c'' { +\relative { << - \new Staff { \clef "treble" \key d \major \time 3/4 c4 } + \new Staff { \clef "treble" \key d \major \time 3/4 c''4 } \new Staff { \clef "bass" c,,4 } >> } @@ -835,9 +835,9 @@ nynà vložen do prostÅedà @code{PianoStaff}. Zde je jeden malý pÅÃklad: @lilypond[verbatim,quote] -\relative c'' { +\relative { \new PianoStaff << - \new Staff { \time 2/4 c4 e | g g, | } + \new Staff { \time 2/4 c''4 e | g g, | } \new Staff { \clef "bass" c,,4 c' | e c | } >> } @@ -967,10 +967,10 @@ Zde je zaÄátek jednoduché dÄtské pÃsnÄ, @notation{DÃvky a chlapci jdou ven, aby si hráli}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } @end lilypond @@ -981,10 +981,10 @@ se zadá tak, že každá slabika je oddÄlena prázdným znakem. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 + d''4 b8 c4 a8 | d4 b8 g4 } \addlyrics { DÃvky a chlapci jdou | ven, aby si hráli, @@ -1026,10 +1026,10 @@ takto: @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c b a | d4 b8 g4. | } \addlyrics { @@ -1043,10 +1043,10 @@ V anglickém originále je to: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1080,10 +1080,10 @@ podrobnosti se podÃvejte v Äásti @ref{Ligatury a legatové oblouÄky}. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c( b) a | d4 b8 g4. | } \addlyrics { @@ -1103,10 +1103,10 @@ Na podrobnosti se podÃvejte v Äásti @ref{Automatické a ruÄnà trámce}. @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c([ b]) a | d4 b8 g4. | } \addlyrics { @@ -1123,10 +1123,10 @@ podtržÃtko @code{_}: @c KEEP LY @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \major \time 6/8 - d4 b8 c4 a8 | d4 b8 g4 g8 | + d''4 b8 c4 a8 | d4 b8 g4 g8 | a4 b8 c[ b] a | d4 b8 g4. | } \addlyrics { @@ -1147,10 +1147,10 @@ jsem | položen __ na | zemi.}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key g \minor \time 3/2 - g2 a bes | bes2( a) b2 | + g'2 a bes | bes2( a) b2 | c4.( bes8 a4. g8 fis4.) g8 | fis1 } \addlyrics { @@ -1201,11 +1201,11 @@ ve FigarovÄ Ã¡rii @notation{Largo al factotum}. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \clef "bass" \key c \major \time 6/8 - c4.~ 8 d b | c8([ d]) b c d b | c8 + c'4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1312,13 +1312,13 @@ pozdÄji tÃm, že se pÅed nÄ zapÃÅ¡e obrácené lomÃtko @lilypond[verbatim,quote] violin = \new Staff { - \relative c'' { - a4 b c b + \relative { + a'4 b c b } } cello = \new Staff { - \relative c { + \relative { \clef "bass" e2 d } @@ -1476,10 +1476,10 @@ možným zdrojem chyb. Pomocà pÅÃkazu @code{\relative} je tento pÅÃklad mnohem jednoduÅ¡eji Äitelný: @lilypond[verbatim,quote] -\relative c'' { +\relative { \key a \major \time 6/8 - cis8. d16 cis8 e4 e8 | + cis''8. d16 cis8 e4 e8 | b8. cis16 b8 d4 d8 | } @end lilypond diff --git a/Documentation/cs/learning/fundamental.itely b/Documentation/cs/learning/fundamental.itely index ea58f708d4..c232085074 100644 --- a/Documentation/cs/learning/fundamental.itely +++ b/Documentation/cs/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @c Translators: Pavel Fric @node Základnà pojmy @@ -63,8 +63,8 @@ tak notová sazba vypadá zÅÃdka, když se tento pÅÃkaz vynechá. @lilypond[quote,fragment,ragged-right,verbatim] -\relative c'' { - c4 a b c +\relative { + c''4 a b c } @end lilypond @@ -119,8 +119,8 @@ stavbu. PodÃvejme se na jeden takový jednoduchý pÅÃklad: @example -\relative c'' @{ - c4 a d c +\relative @{ + c''4 a d c @} @end example @@ -135,8 +135,8 @@ takové soubory daly napsat a také správnÄ zapsat, znamená \score @{ \new Staff @{ \new Voice @{ - \relative c'' @{ - c4 a b c + \relative @{ + c''4 a b c @} @} @} @@ -277,8 +277,8 @@ jak je to také ukázáno v @ref{PoÅádánà dÄl pomocà promÄnných}. VÅ¡echny pÅedlohy použÃvajà tuto možnost: @example -melodie = \relative c' @{ - c4 a b c +melodie = \relative @{ + c'4 a b c @} \score @{ @@ -410,8 +410,8 @@ složených závorek vedle @code{\new Voice = "ZpÄvnà hlas"} bychom mohli zapisovat @example -\relative c'' @{ - r4 d8\noBeam g, c4 r +\relative @{ + r4 d''8\noBeam g, c4 r @} @end example @@ -433,10 +433,10 @@ Takže nynà máme, když pÅidáme nÄkolik not a basový klÃÄ pro levou ruku, následujÃcà pÅÃklad: @lilypond[verbatim,quote,ragged-right] -melody = \relative c'' { r4 d8\noBeam g, c4 r } +melody = \relative { r4 d''8\noBeam g, c4 r } text = \lyricmode { And God said, } -upper = \relative c'' { 2~ } -lower = \relative c { b2 e } +upper = \relative { 2~ } +lower = \relative { b,2 e } \score { << @@ -485,8 +485,8 @@ jen pro dobu trvánà tÅà not: @lilypond[verbatim,quote,ragged-right] \new Staff { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -513,8 +513,8 @@ osnovu: @lilypond[verbatim,quote,ragged-right] \new Staff = "main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f8 c c } @@ -762,9 +762,9 @@ z tÄchto prostÅedà je nastaven svislý smÄr nožiÄek, legatových oblouÄk ligatur, znaÄek pro dynamiku atd. tak, jak se patÅÃ. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | @@ -786,9 +786,9 @@ VÅ¡imnÄte si také, že spojené noty mohou být rozdÄleny pÅes stejný hlas do dvou staveb, jak je to ukázáno zde na modrém trojúhelnÃkovém hlase. @lilypond[quote,verbatim] -\new Staff \relative c' { +\new Staff \relative { % Main voice - c16 d e f + c'16 d e f << % Bar 1 { \voiceOneStyle @@ -878,10 +878,10 @@ a hlasy. SložitÄjÅ¡Ã vÄci budou vysvÄtleny v pozdÄjÅ¡Ãch Äástech. @c The following should appear as music without code @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { aes2 f4 fes } \\ % No voice three @@ -953,10 +953,10 @@ se to nauÄili, pomocà konstrukcà @code{<< \\ >>}, kterou zapÃÅ¡eme tÅi hlasy prvnÃho taktu: @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { 2 des } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ { 2 des } >> | 1 | } @@ -978,10 +978,10 @@ umÃstÃme do Ätvrtého hlasu. To se udÄlá jednoduÅ¡e pÅidánÃm páru @code{\\}. @lilypond[quote,verbatim,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << % Voice one - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ % Voice two { aes2 f4 fes } \\ % Omit Voice three @@ -1043,8 +1043,8 @@ Stavba @code{<< \\ >>}, kterou jsme použili v pÅedchozÃm @example \new Staff @{ - \relative c' @{ - << @{ e4 f g a @} \\ @{ c,4 d e f @} >> + \relative @{ + << @{ e'4 f g a @} \\ @{ c,4 d e f @} >> @} @} @end example @@ -1054,8 +1054,8 @@ ist identisch mit @example \new Staff << - \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @} - \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @} + \new Voice = "1" @{ \voiceOne \relative @{ e'4 f g a @} @} + \new Voice = "2" @{ \voiceTwo \relative @{ c'4 d e f @} @} >> @end example @@ -1064,8 +1064,8 @@ Obojà výše by vytvoÅilo následujÃcà notový obraz: @c The following example should not display the code @lilypond[ragged-right,quote] \new Staff << - \new Voice = "1" { \voiceOne \relative c' { e4 f g a } } - \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } } + \new Voice = "1" { \voiceOne \relative { e'4 f g a } } + \new Voice = "2" { \voiceTwo \relative { c'4 d e f } } >> @end lilypond @@ -1086,9 +1086,9 @@ majà pÅÃkazy @code{\oneVoice}, @code{\voiceOne} a @code{voiceTwo} úÄinek na text, oblouÄky a oznaÄenà dynamiky: @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { % Default behavior or behavior after \oneVoice - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1159,8 +1159,8 @@ hlas objevà jen krátce, může to být pÅirozenÄjÅ¡Ã způsob sázenà not: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { - c16^( d e f +\new Staff \relative { + c'16^( d e f << { g4 f e | d2 e2) | } \new Voice { @@ -1334,14 +1334,14 @@ ne jako noty. @lilypond[quote,verbatim] global = { \key f \major \time 6/8 \partial 8 } -SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 +SopOneMusic = \relative { + c''8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ } -SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' +SopTwoMusic = \relative { + r8 | r4. r4 c'8 | a'8([ g)] f f([ e)] d | e8([ d)] c bes' } SopTwoLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, @@ -1395,10 +1395,10 @@ tóninu. Taková promÄnná se Äasto oznaÄuje @qq{global}. @lilypond[quote,verbatim] keyTime = { \key c \major \time 4/4 \partial 4 } -SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } @@ -1598,8 +1598,8 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \clef "treble" \key g \minor \new Voice { % create voice for RH notes - \relative c'' { % start of RH notes - d4 ees16 c8. + \relative { % start of RH notes + d''4 ees16 c8. d4 ees16 c8. } % end of RH notes } % end of RH voice @@ -1609,14 +1609,14 @@ werden, hier ein kommentiertes Beispiel aus dem richtigen Leben: \key g \minor \new Voice { % create LH voice one \voiceOne - \relative g { % start of LH voice one notes + \relative { % start of LH voice one notes g8 ees, g8 ees, } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo - \relative g { % start of LH voice two notes + \relative { % start of LH voice two notes g4 ees g4 ees } % end of LH voice two notes @@ -1914,8 +1914,8 @@ ausgeschaltet sind: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais2 aes + \new Staff \relative { + ais'2 aes } \new Staff \relative c'' { \set Staff.extraNatural = ##f @@ -1929,8 +1929,8 @@ während das dazu dient, sie in allen Systemen auszuschalten: @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { - ais2 aes + \new Staff \relative { + ais'2 aes } \new Staff \relative c'' { \set Score.extraNatural = ##f @@ -2007,12 +2007,12 @@ etwa so: @lilypond[quote,verbatim,ragged-right] << \new Staff - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } \new Staff \with { extraNatural = ##f } { - \relative c'' { - gis ges aes ais + \relative { + gis' ges aes ais } } >> @@ -2056,8 +2056,8 @@ Funktion anwendet: @lilypond[verbatim,quote] \score { \new Staff { - \relative c'' { - cis4 e d ces + \relative { + cis''4 e d ces } } \layout { @@ -2076,13 +2076,13 @@ Wenn die Veränderung der Eigenschaft sich auf alle Systeme einer \score { << \new Staff { - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } } \new Staff { - \relative c'' { - gis4 ges aes ais + \relative { + gis'4 ges aes ais } } >> @@ -2151,8 +2151,8 @@ erstellt werden. \new Staff \with { \remove "Staff_symbol_engraver" } -\relative c' { - c4 d +\relative { + c'4 d \set fontSize = #-4 % make note heads smaller e4 f | \set fontSize = #2.5 % make note heads larger @@ -2244,24 +2244,24 @@ mit vier Systemen anzeigen wollen, könnte das so aussehen: \score { << \new Staff { - \relative c'' { - c4 a b g + \relative { + c''4 a b g } } \new Staff { - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "G_8" - \relative c' { - c4 a b g + \relative { + c'4 a b g } } \new Staff { \clef "bass" - \relative c { + \relative { c4 a b g } } @@ -2331,7 +2331,7 @@ Fall könnten Sie mit der Vorlage @qq{Noten und Text} @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2361,7 +2361,7 @@ Beispiel @qq{Nur Noten} an: @example \version @w{"@version{}"} -melody = \relative c' @{ +melody = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2405,7 +2405,7 @@ Wir ändern auch die Noten etwas ab. @example \version @w{"@version{}"} -SopranNoten = \relative c' @{ +SopranNoten = \relative @{ \clef "treble" \key c \major \time 4/4 @@ -2416,7 +2416,7 @@ SoprText = \lyricmode @{ Aaa Bee Cee Dee @} -CelloNoten = \relative c @{ +CelloNoten = \relative @{ \clef "bass" \key c \major \time 4/4 @@ -2478,7 +2478,7 @@ nicht mehr. Das können wir aber schnell in Ordnung bringen. Hier also die gesamte Vorlage für Soprán a violoncello: @lilypond[quote,verbatim,ragged-right,addversion] -sopranoMusic = \relative c' { +sopranoMusic = \relative { \clef "treble" \key c \major \time 4/4 @@ -2489,7 +2489,7 @@ sopranoLyrics = \lyricmode { Aaa Bee Cee Dee } -celloMusic = \relative c { +celloMusic = \relative { \clef "bass" \key c \major \time 4/4 @@ -2539,26 +2539,26 @@ notiert wird. Hier ein Beispiel aus Händels @notation{Messias}: @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis e2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -2777,26 +2777,26 @@ global = { \key d \major \time 4/4 } -sopranoMusic = \relative c'' { +sopranoMusic = \relative { \clef "treble" - r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | + r4 d''2 a4 | d4. d8 a2 | cis4 d cis2 | } sopranoWords = \lyricmode { Wor -- thy | is the lamb | that was slain | } -altoMusic = \relative a' { +altoMusic = \relative { \clef "treble" - r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | + r4 a'2 a4 | fis4. fis8 a2 | g4 fis fis2 | } altoWords = \sopranoWords -tenorMusic = \relative c' { +tenorMusic = \relative { \clef "G_8" - r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | + r4 fis'2 e4 | d4. d8 d2 | e4 a, cis2 | } tenorWords = \sopranoWords -bassMusic = \relative c' { +bassMusic = \relative { \clef "bass" - r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | + r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords upper = \relative a' { @@ -3132,19 +3132,19 @@ die Variablen mit einem Backslash in die Partitur einbauen. composer = "J S Bach" } keyTime = { \key c \minor \time 4/4 } -ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | +ManualOneVoiceOneMusic = \relative { + g'4 g f ees | d2 c2 | } -ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ 16 f ees d c8 d~ d c~ | +ManualOneVoiceTwoMusic = \relative { + ees'16 d ees8~ 16 f ees d c8 d~ d c~ | 8 c4 b8 c8. g16 c b c d | } -ManualTwoMusic = \relative c' { - c16 b c8~ 16 b c g a8 g~ 16 g aes ees | +ManualTwoMusic = \relative { + c'16 b c8~ 16 b c g a8 g~ 16 g aes ees | f16 ees f d g aes g f ees d e8~ 8es16 f ees d | } -PedalOrganMusic = \relative c { +PedalOrganMusic = \relative { r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } @@ -3199,7 +3199,7 @@ Glossar: Bis jetzt wurde immer derartige Notation vorgestellt: @lilypond[quote,verbatim,ragged-right] -hornNotes = \relative c'' { c4 b dis c } +hornNotes = \relative { c''4 b dis c } \score { { @@ -3212,8 +3212,8 @@ Sie können sich vorstellen, dass das etwa für minimalistische Musik sehr nützlich sein könnte: @lilypond[quote,verbatim,ragged-right] -fragmentA = \relative c'' { a4 a8. b16 } -fragmentB = \relative c'' { a8. gis16 ees4 } +fragmentA = \relative { a'4 a8. b16 } +fragmentB = \relative { a'8. gis16 ees4 } violin = \new Staff { \fragmentA \fragmentA | \fragmentB \fragmentA | @@ -3295,8 +3295,8 @@ padText = \once \override TextScript.padding = $padding #}) -\relative c''' { - c4^"piu mosso" b a b | +\relative { + c'''4^"piu mosso" b a b | \padText #1.8 c4^"piu mosso" d e f | \padText #2.6 @@ -3330,7 +3330,7 @@ Nehmen wir an, dass die Datei @file{horn-music.ly} folgende Noten eines Horn/@/Fagott-Duos enthält: @example -hornNotes = \relative c @{ +hornNotes = \relative @{ \time 2/4 r4 f8 a | cis4 f | e4 d | @} @@ -3368,7 +3368,7 @@ die Stimmung eines normalen F-Hornes verlangt. Die Transposition kann in folgender Notenausgabe gesehen werden: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 r4 f8 a | cis4 f | e4 d | } @@ -3425,7 +3425,7 @@ Partitur erstellt mit: woraus sich ergibt: @lilypond[quote,ragged-right] -\relative c << +\relative << \new Staff { \clef "treble" \time 2/4 diff --git a/Documentation/cs/learning/tutorial.itely b/Documentation/cs/learning/tutorial.itely index 7bef36f3b5..8b940467be 100644 --- a/Documentation/cs/learning/tutorial.itely +++ b/Documentation/cs/learning/tutorial.itely @@ -10,7 +10,7 @@ @include included/generating-output.itexi -@c \version "2.16.0" +@c \version "2.19.21" @c Translators: Pavel Fric @node CviÄenà @@ -248,8 +248,8 @@ vždy jen o jeden notový Åádek nad pÅedchozÃm. @c KEEP LY @lilypond[verbatim,quote] % PoÄáteÄnà bod napsat na jednoÄárkovaném C -\relative c' { - c d e f +\relative { + c' d e f g a b c } @end lilypond @@ -263,8 +263,8 @@ režimu @code{\relative} zobrazit i melodie s vÄtÅ¡Ãmi intervaly: @lilypond[verbatim,quote] -\relative c' { - d f a g +\relative { + d' f a g c b f d } @end lilypond @@ -282,8 +282,8 @@ je odstraÅuje, může být oktáva prvnà výšky tónu zmÄnÄna: @c KEEP LY @lilypond[verbatim,quote] % dvouÄárkované C -\relative c'' { - e c a c +\relative { + e'' c a c } @end lilypond @@ -297,8 +297,8 @@ H, když je to A, G nebo F, je napsáno pod nÃm. @c KEEP LY @lilypond[verbatim,quote] -\relative c'' { - b c % c je 1 Åádek nahoru, tedy c nad b +\relative { + b' c % c je 1 Åádek nahoru, tedy c nad b b d % d je 2 Åádky nahoru, nebo 5 dolů, tedy d nad b b e % e je 3 nahoru, nebo 4 dolů, tedy e pod b b a % a je 6 nahoru, nebo 1 dolů, tedy a pod b @@ -317,8 +317,8 @@ Aby se zapsaly intervaly, které jsou vÄtÅ¡Ã než tÅi notové Åádky, lze ok posazeným pÅÃmo za název noty se oktáva zvýšà o jednu, Äárkou @code{,} se oktáva o jednu snÞÃ. @lilypond[verbatim,quote] -\relative c'' { - a a, c' f, +\relative { + a' a, c' f, g g'' a,, f' } @end lilypond @@ -355,8 +355,8 @@ NenÃ-li oznaÄena žádná délka, použÃvá se délka pÅedcházejÃcà noty. Pro prvnà notu je jako výchozà urÄena ÄtvrÅ¥ová nota. @lilypond[verbatim,quote] -\relative c'' { - a1 +\relative { + a'1 a2 a4 a8 a a16 a a a a32 a a a a64 a a a a a a a a2 } @@ -368,8 +368,8 @@ teÄkované noty musà být udána výslovnÄ, tudÞ vÄetnÄ ÄÃsla. @lilypond[verbatim,quote] -\relative c'' { - a4 a a4. a8 +\relative { + a'4 a a4. a8 a8. a16 a a8. a8 a4. } @end lilypond @@ -385,8 +385,8 @@ teÄkované noty musà být udána výslovnÄ, tudÞ vÄetnÄ oznaÄenÃm je @code{r}@tie{}: @lilypond[verbatim,quote] -\relative c'' { - a4 r r2 +\relative { + a'4 r r2 r8 a r4 r4. r8 } @end lilypond @@ -405,9 +405,9 @@ SlovnÃÄek: @rglos{time signature}. @code{\time}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 - a4 a a + a'4 a a \time 6/8 a4. a \time 4/4 @@ -461,9 +461,9 @@ SlovnÃÄek: @rglos{clef}. @code{\clef}: @lilypond[verbatim,quote] -\relative c' { +\relative { \clef "treble" - c1 + c'1 \clef "alto" c1 \clef "tenor" @@ -765,8 +765,8 @@ vyobrazenÃm: @c no verbatim here @c KEEP LY @lilypond[quote] -\relative c'' { - c4-\markup { \bold \huge { KlepnÄte sem! } } +\relative { + c''4-\markup { \bold \huge { KlepnÄte sem! } } } @end lilypond diff --git a/Documentation/cs/learning/tweaks.itely b/Documentation/cs/learning/tweaks.itely index 0338933cfa..d5b9ebff09 100644 --- a/Documentation/cs/learning/tweaks.itely +++ b/Documentation/cs/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.19.2" +@c \version "2.19.21" @node LadÄnà výstupu @chapter LadÄnà výstupu @@ -1476,8 +1476,8 @@ braucht. @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d | + \relative { + r4 g'8 g c4 c8 d | e4 r8 << { f c c } @@ -1504,8 +1504,8 @@ wir setzen den Stencil von beiden auf @code{#f}: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1573,8 +1573,8 @@ Das obige Beispiel könnte also auch so aussehen: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1644,8 +1644,8 @@ Setzen wir das also in unserem Ossia-Beispiel ein: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1717,8 +1717,8 @@ sie benutzt: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Staff ="main" { - \relative g' { - r4 g8 g c4 c8 d + \relative { + r4 g'8 g c4 c8 d e4 r8 << { f8 c c } @@ -1846,10 +1846,10 @@ Im nächsten Beispiel sehen Sie, wie Noten auf zwei Systemen @lilypond[quote,ragged-right,verbatim] << \new Staff { - \relative c' { c4 a, } + \relative { c'4 a, } } \new Staff { - \relative c'''' { c4 a, } + \relative { c''''4 a, } } >> @end lilypond @@ -2906,8 +2906,8 @@ wie im folgenden Beispiel: @lilypond[quote,ragged-right,verbatim] sesquisharp = \markup { \sesquisharp } - \relative c'' { - c4 + \relative { + c''4 % This prints a sesquisharp but the spacing is too small \once \override Accidental.stencil = #ly:text-interface::print \once \override Accidental.text = #sesquisharp @@ -3150,10 +3150,10 @@ Chopin-Beispiel vornehmen, das wir behandelt haben in gebracht: @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ @@ -3186,10 +3186,10 @@ Hier das Endergebnis: @cindex vertikale Verschiebung, Beispiel @lilypond[quote,verbatim,fragment,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << - { c2 aes4. bes8 } + { c''2 aes4. bes8 } \\ { aes2 f4 fes } \\ @@ -3227,9 +3227,9 @@ zu kompliziert zu machen. @c This example should not be indexed @lilypond[quote,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3268,8 +3268,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3312,8 +3312,8 @@ erstellt: @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { - \new Voice { r2 c4. g8 | +rhMusic = \relative { + \new Voice { r2 c''4. g8 | bes1~ | \time 6/4 bes2. r8 @@ -3337,8 +3337,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2 | +lhMusic = \relative { + r2 2 | 1 | r2. d,,4 r4 r | r4 @@ -3372,9 +3372,9 @@ sind schnell gesetzt, denn sie wurden schon in der @c line-width ensures no break @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | bes1~ | \time 6/4 bes2. r8 @@ -3398,8 +3398,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1) | r2. d,,4 r4 r | r4 @@ -3446,9 +3446,9 @@ den Bindebogen (@code{tie}) 3,5 halbe Notenlinienabstände Damit ist auch der zweite Takt vollständig: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3474,8 +3474,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3530,9 +3530,9 @@ um das Verhalten wieder auszuschalten. Das sieht so aus: @cindex staff-position-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3562,8 +3562,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3604,9 +3604,9 @@ es die Verschmelzung der Ds nicht stört. Das sieht jetzt so aus: @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3638,8 +3638,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3674,9 +3674,9 @@ wir durchsichtig und das C verschieben wir mit der @cindex transparent-Eigenschaft, Beispiel @lilypond[quote,verbatim,ragged-right,line-width=6\in] -rhMusic = \relative c'' { +rhMusic = \relative { \new Voice { - r2 c4.\( g8 | + r2 c''4.\( g8 | \once \override Tie.staff-position = #3.5 bes1~ | \bar "||" @@ -3716,8 +3716,8 @@ rhMusic = \relative c'' { } } -lhMusic = \relative c' { - r2 2( | +lhMusic = \relative { + r2 2( | 1)\arpeggio | r2. d,,4 r4 r | r4 @@ -3956,10 +3956,10 @@ normal = { global = { \key c \major \time 4/4 \partial 4 } -SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopranoMusic = \relative { c'4 | e4. e8 g4 g | a4 a g } +AltoMusic = \relative { c'4 | c4. c8 e4 e | f4 f e } +TenorMusic = \relative { e4 | g4. g8 c4. b8 | a8 b c d e4 } +BassMusic = \relative { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save, diff --git a/Documentation/cs/usage/lilypond-book.itely b/Documentation/cs/usage/lilypond-book.itely index d041f61620..32e6f4ad05 100644 --- a/Documentation/cs/usage/lilypond-book.itely +++ b/Documentation/cs/usage/lilypond-book.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.21" @c Translators: Pavel Fric @@ -94,8 +94,8 @@ Dokumente für \verb+lilypond-book+ können Musik und Text nach Belieben kombinieren. Zum Beispiel: \begin{lilypond} -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } \end{lilypond} @@ -154,8 +154,8 @@ Dokumente für @command{lilypond-book} können Musik und Text nach Belieben kombinieren. Zum Beispiel: @lilypond -\relative c' { - c2 e2 \tuplet 3/2 { f8 a b } a2 e4 +\relative { + c'2 e2 \tuplet 3/2 { f8 a b } a2 e4 } @end lilypond @@ -706,8 +706,8 @@ Erzeugung der Grafik im relativen Oktavenmodus interpretiert, der wörtlich in das Dokument kopierte LilyPond-Code zeigt den @code{relative}-Befehl jedoch nicht. @example -\relative c' @{ % begin verbatim - c4 e2 g4 +\relative @{ % begin verbatim + c'4 e2 g4 f2 e % end verbatim @} @end example @@ -1067,8 +1067,8 @@ Sie können LilyPond-Fragmente in ein LaTeX-Dokument einfügen: Normaler LaTeX-Text. \begin@{lilypond@} -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @} \end@{lilypond@} @@ -1093,7 +1093,7 @@ Handbuch wurde in Texinfo geschrieben. Texinfo-Text @@lilypond -\relative c' @{ +\relative @{ a4 b c d @} @@end lilypond @@ -1120,8 +1120,8 @@ d4 c b a Dokumente für lilypond-book können Noten und Text frei kombinieren. Zum Beispiel -\relative c'' @{ - a4 b c d +\relative @{ + a'4 b c d @}