From 315e509f940a8e14ea264f14e119ae7e6dd9f55b Mon Sep 17 00:00:00 2001 From: Werner Lemberg Date: Sun, 30 Nov 2008 08:15:40 +0100 Subject: [PATCH] Remove empty line after @seealso. Otherwise we have excessive vertical space in the PDF output. This is an unfortunate side effect of the @seealso macro. --- Documentation/de/user/ancient.itely | 17 +- Documentation/de/user/chords.itely | 5 +- Documentation/de/user/editorial.itely | 16 +- Documentation/de/user/expressive.itely | 14 - Documentation/de/user/fretted-strings.itely | 18 +- Documentation/de/user/fundamental.itely | 24 +- Documentation/de/user/introduction.itely | 3 +- Documentation/de/user/keyboards.itely | 6 +- Documentation/de/user/lilypond-book.itely | 5 +- Documentation/de/user/percussion.itely | 4 +- Documentation/de/user/pitches.itely | 28 +- Documentation/de/user/repeats.itely | 12 +- Documentation/de/user/rhythms.itely | 54 +- Documentation/de/user/simultaneous.itely | 17 +- Documentation/de/user/staff.itely | 12 +- Documentation/de/user/text.itely | 26 +- Documentation/de/user/tutorial.itely | 23 +- Documentation/de/user/tweaks.itely | 7 +- Documentation/es/user/ancient.itely | 42 +- Documentation/es/user/changing-defaults.itely | 16 +- Documentation/es/user/chords.itely | 32 +- Documentation/es/user/editorial.itely | 15 +- Documentation/es/user/expressive.itely | 20 +- Documentation/es/user/fretted-strings.itely | 26 +- Documentation/es/user/fundamental.itely | 26 +- Documentation/es/user/input.itely | 13 +- Documentation/es/user/introduction.itely | 3 +- Documentation/es/user/keyboards.itely | 17 +- Documentation/es/user/lilypond-book.itely | 1 + Documentation/es/user/percussion.itely | 13 +- Documentation/es/user/pitches.itely | 30 +- Documentation/es/user/repeats.itely | 16 +- Documentation/es/user/rhythms.itely | 53 +- Documentation/es/user/simultaneous.itely | 19 +- Documentation/es/user/spacing.itely | 26 +- Documentation/es/user/staff.itely | 17 +- Documentation/es/user/text.itely | 25 +- Documentation/es/user/tutorial.itely | 23 +- Documentation/es/user/tweaks.itely | 8 +- Documentation/es/user/unfretted-strings.itely | 7 +- Documentation/es/user/vocal.itely | 16 +- Documentation/es/user/wind.itely | 5 +- Documentation/es/user/world.itely | 10 +- Documentation/fr/user/ancient.itely | 15 +- Documentation/fr/user/changing-defaults.itely | 6 +- Documentation/fr/user/chords.itely | 5 +- Documentation/fr/user/editorial.itely | 6 +- Documentation/fr/user/expressive.itely | 9 +- Documentation/fr/user/fretted-strings.itely | 20 +- Documentation/fr/user/fundamental.itely | 21 +- Documentation/fr/user/input.itely | 4 +- Documentation/fr/user/introduction.itely | 3 +- Documentation/fr/user/keyboards.itely | 6 +- Documentation/fr/user/percussion.itely | 5 +- Documentation/fr/user/pitches.itely | 10 +- Documentation/fr/user/repeats.itely | 6 +- Documentation/fr/user/rhythms.itely | 25 +- Documentation/fr/user/simultaneous.itely | 6 +- Documentation/fr/user/spacing.itely | 4 +- Documentation/fr/user/staff.itely | 7 +- Documentation/fr/user/text.itely | 10 +- Documentation/fr/user/tutorial.itely | 27 +- Documentation/fr/user/tweaks.itely | 7 +- Documentation/fr/user/vocal.itely | 16 +- Documentation/user/ancient.itely | 57 +- Documentation/user/changing-defaults.itely | 15 +- Documentation/user/chords.itely | 40 +- Documentation/user/editorial.itely | 15 +- Documentation/user/expressive.itely | 10 - Documentation/user/fretted-strings.itely | 30 +- Documentation/user/fundamental.itely | 26 +- Documentation/user/input.itely | 13 +- Documentation/user/introduction.itely | 3 +- Documentation/user/keyboards.itely | 17 +- Documentation/user/lilypond-book.itely | 1 + Documentation/user/music-glossary.tely | 646 +++++++++--------- Documentation/user/percussion.itely | 13 +- Documentation/user/pitches.itely | 23 +- Documentation/user/policy.txt | 3 + Documentation/user/repeats.itely | 12 +- Documentation/user/rhythms.itely | 43 +- Documentation/user/simultaneous.itely | 16 +- Documentation/user/spacing.itely | 25 - Documentation/user/staff.itely | 10 - Documentation/user/text.itely | 21 +- Documentation/user/tutorial.itely | 23 +- Documentation/user/tweaks.itely | 6 +- Documentation/user/unfretted-strings.itely | 6 +- Documentation/user/vocal.itely | 17 +- Documentation/user/wind.itely | 5 +- Documentation/user/world.itely | 10 +- 91 files changed, 1008 insertions(+), 1086 deletions(-) diff --git a/Documentation/de/user/ancient.itely b/Documentation/de/user/ancient.itely index 1c3666c351..22e0de3945 100644 --- a/Documentation/de/user/ancient.itely +++ b/Documentation/de/user/ancient.itely @@ -100,8 +100,8 @@ der @rinternals{Mensural_ligature_engraver} automatisch Ligaturen der Mensuralnotation. Siehe @ref{Ligatures} zu einer Übersicht über die Funktion und Notation von Ligaturen. -@seealso +@seealso @ref{Note head styles} stellt einen Überblick über alle verfügbaren Notenkopfstile zur Verfügung. @@ -167,8 +167,8 @@ anderen Stil, wie in dem Beispiel Tonart verändert werden, indem die @code{glyph-name-alist}-Eigenschaft des @rinternals{KeySignature}-Objektes gesetzt wird. -@seealso +@seealso In diesem Handbuch: @ref{Pitches}, @ref{Accidentals} und @ref{Automatic accidentals} geben eine allgemeine Einführung in die Benutzung von Versetzungszeichen. Der Abschnitt @ref{Key signature} zeigt die allgemeine @@ -214,8 +214,8 @@ Vgl. eine Liste aller vorhandenen Pausen in @code{pitches,rests}. Für die Notation des Gregorianischen Chorals gibt es keine Pausen; anstelle dessen werden @ref{Divisiones} verwendet. -@seealso +@seealso In diesem Handbuch: Der Abschnitt @ref{Rests} enthält eine allgemeine Einführung zur Benutzung von Pausen. @@ -449,10 +449,11 @@ Petrucci verwendete C-Schlüssel mit unterschiedlich balanciertem vertikalen Balken auf der linken Seite in Abhängigkeit davon, auf welcher Notenlinie der Schlüssel gesetzt wird. -@seealso +@seealso In diesem Handbuch: siehe @ref{Clef}. + @knownissues Der mensurale G-Schlüssel ist als Petrucci-G-Schlüssel deklariert. @@ -586,11 +587,12 @@ Im folgenden Beispiel sind die unterschiedlichen Stile dargestellt. } @end lilypond -@seealso +@seealso In diesem Handbuch: @ref{Time signature} bietet eine allgemeine Übersicht über den Einsatz von Taktangaben. + @knownissues Die Verhältnisse der Notenwerte ändern sich nicht, wenn die Taktart (Mensur) @@ -734,8 +736,8 @@ und @code{mensural}. Sie werden im folgenden Fragment demonstriert. } @end lilypond -@seealso +@seealso Programmreferenz: @rinternals{Custos}. @@ -788,7 +790,6 @@ sich in der Datei @file{gregorian@/-init@/.ly} auch eine Definition für @seealso - In diesem Handbuch: @ref{Breath marks}. @@ -2053,8 +2054,8 @@ fis gis ais bis @end lilypond -@seealso +@seealso Programmreferenz: @rinternals{Accidental_engraver}-Setzer und das @rinternals{AccidentalSuggestion}-Objekt. diff --git a/Documentation/de/user/chords.itely b/Documentation/de/user/chords.itely index cef42aaa0d..ed3b6dc5c3 100644 --- a/Documentation/de/user/chords.itely +++ b/Documentation/de/user/chords.itely @@ -430,13 +430,13 @@ Abschnitt @ref{Chord name chart}. @seealso - Beispiele: @rlsr{Chords}. Init-Dateien: @file{scm/@/chords@/-ignatzek@/.scm} und @file{scm/@/chord@/-entry@/.scm}. + @knownissues Akkordsymbole werden nur von den Tonhöhenbezeichnungen bestimmt. @@ -650,14 +650,15 @@ mehrere Bassziffern sich überschneidende Linien haben. Um dieses Problem zu vermeiden, sollte @code{stacking-dir} im @code{BassFigureAlignment} benutzt werden. -@seealso +@seealso Programmreferenz: @rinternals{BassFigure}-, @rinternals{BassFigureAlignment}-, @rinternals{BassFigureLine}-, @rinternals{BassFigureBracket}- und @rinternals{BassFigureContinuation}-Objekte und der @rinternals{FiguredBass}-Kontext. + @node Entering figured bass @unnumberedsubsubsec Entering figured bass diff --git a/Documentation/de/user/editorial.itely b/Documentation/de/user/editorial.itely index 1f7121b92f..09a4d2de2a 100644 --- a/Documentation/de/user/editorial.itely +++ b/Documentation/de/user/editorial.itely @@ -138,7 +138,6 @@ werden, die Schrift-Dateien benutzen. Das sind die, welche die @seealso - Schnipsel: @rlsr{Editorial annotations}. @@ -203,8 +202,8 @@ Fingersatzanweisungen können manuell oberhalb des Systems gesetzt werden, siehe @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {allowing-fingerings-to-be-printed-inside-the-staff.ly} -@seealso +@seealso Notationsreferenz: @ref{Direction and placement}. @@ -267,7 +266,6 @@ e4(\p f)-- @seealso - Schnipsel: @rlsr{Editorial annotations}. @@ -353,8 +351,8 @@ gis8 a gis4 a @end lilypond -@seealso +@seealso Notationsreferenz: @ref{List of colors}, @ref{The tweak command}. @@ -362,6 +360,7 @@ tweak command}. Schnipsel: @rlsr{Editorial annotations}. + @cindex x11-Farbe @cindex farbige Noten in Akkorden @cindex Noten, farbige in Akkorden @@ -411,8 +410,8 @@ c2-\parenthesize -. d c2 \parenthesize r @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Editorial annotations}. @@ -421,6 +420,7 @@ Referenz der Interna: @rinternals{ParenthesesItem}, @rinternals{parentheses-interface}. + @knownissues Wenn man einen Akkord einklammert, wird um jede Note eine eigene Klammer @@ -463,6 +463,7 @@ gemacht. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {default-direction-of-stems-on-the-center-line-of-the-staff.ly} + @seealso Notationsreferenz: @ref{Direction and placement}. @@ -476,7 +477,6 @@ Referenz der Interna: @rinternals{stem-interface}. - @node Outside the staff @subsection Outside the staff @@ -555,7 +555,6 @@ aber das kann geändert werden. @seealso - Schnipsel: @rlsr{Editorial annotations}. @@ -622,7 +621,6 @@ den Linien festgesetzt. @seealso - Schnipsel: @rlsr{Editorial annotations}. @@ -686,8 +684,8 @@ Analysis brackets may be nested. } @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Editorial annotations}. diff --git a/Documentation/de/user/expressive.itely b/Documentation/de/user/expressive.itely index 619f6b848b..702390f96c 100644 --- a/Documentation/de/user/expressive.itely +++ b/Documentation/de/user/expressive.itely @@ -124,7 +124,6 @@ definiert. Artikulationszeichen und Onrnamente können manuell @seealso - Musikglossar: @rglos{tenuto}, @rglos{accent}, @@ -351,7 +350,6 @@ Vertikale Position der Zeichen wird von der Funktion @seealso - Musikglossar: @rglos{al niente}, @rglos{crescendo}, @@ -375,7 +373,6 @@ Referenz der Interna: @rinternals{DynamicLineSpanner}. - @node New dynamic marks @unnumberedsubsubsec New dynamic marks @@ -473,7 +470,6 @@ Die Auswahl von Schriftarten in Textbeschriftungen ist erklärt in @seealso - Notationsreferenz: @ref{Formatting text}, @ref{Selecting font and font size}, @@ -598,7 +594,6 @@ g4( e c2) @seealso - Musikglossar: @rglos{slur}. @@ -616,7 +611,6 @@ Referenz der Interna: @rinternals{Slur}. - @node Phrasing slurs @unnumberedsubsubsec Phrasing slurs @@ -674,7 +668,6 @@ erlaubt. @seealso - Handbuch zum Lernen: @rlearning{On the un-nestedness of brackets and ties}. @@ -688,7 +681,6 @@ Referenz der Interna: @rinternals{PhrasingSlur}. - @node Breath marks @unnumberedsubsubsec Breath marks @@ -720,7 +712,6 @@ Divisiones genannt, sind unterstützt. Für Einzelheiten siehe @seealso - Musikglossar: @rglos{caesura}. @@ -734,7 +725,6 @@ Referenz der Interna: @rinternals{BreathingSign}. - @node Falls and doits @unnumberedsubsubsec Falls and doits @@ -771,7 +761,6 @@ ist @emph{notwendig} um unbestimmte Glissandos zu notieren. @seealso - Musikglossar: @rglos{fall}, @rglos{doit}. @@ -818,7 +807,6 @@ Verschiedene Glissando-Stile sind möglich. Für Einzelheiten siehe @seealso - Musikglossar: @rglos{glissando}. @@ -923,7 +911,6 @@ Ein Arpeggio kann auch explizit ausgeschrieben werden, indem @seealso - Musikglossar: @rglos{arpeggio}. @@ -1033,7 +1020,6 @@ g\stopTrillSpan @seealso - Musikglossar: @rglos{trill}. diff --git a/Documentation/de/user/fretted-strings.itely b/Documentation/de/user/fretted-strings.itely index 83b95f8c85..09a4eca0b5 100644 --- a/Documentation/de/user/fretted-strings.itely +++ b/Documentation/de/user/fretted-strings.itely @@ -52,14 +52,15 @@ wird: @end lilypond -@seealso +@seealso Programmreferenz: @rinternals{StringNumber}. Beispiele: @rlsr{Fretted strings}. + @node Default tablatures @unnumberedsubsubsec Default tablatures @@ -122,10 +123,11 @@ initialisiert werden: \override Beam #'damping = #100000 @end example -@seealso +@seealso Programmreferenz: @rinternals{TabStaff}, @rinternals{TabVoice}. + @knownissues Akkorde werden nicht gesondert behandelt, sodass die Saitenauswahlfunktion @@ -186,12 +188,14 @@ Saiten EADGBE. Andere vordefinierte Stimmungen sind @code{guitar-open-g-tuning}, @code{mandolin-tuning} und @code{banjo-open-g-tuning}. -@seealso +@seealso In der Datei @file{scm/@/output@/-lib@/.scm} sind die Stimmungen definiert. + Programmreferenz: @rinternals{Tab_note_heads_engraver}. + @knownissues Spezialeffekte für Gitarren sind noch nicht implementiert. @@ -247,11 +251,12 @@ Einige graphische Eigenschaften können verändert werden. Genaueres zur Schnittstelle für die Griffsymboleigenschaften findet sich unter @rinternals{fret-diagram-interface}. -@seealso +@seealso Beispiele: @rlsr{Fretted strings}. + @node Right-hand fingerings @unnumberedsubsubsec Right-hand fingerings @@ -304,10 +309,11 @@ Argument eingesetzt wird, wie im nächsten Beispiel: } @end lilypond -@seealso +@seealso Program reference: @rinternals{StrokeFinger} + @node Guitar @subsection Guitar @@ -393,7 +399,7 @@ indem die @code{four-string-banjo}-Funktion eingesetzt wird: \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) @end example -@seealso +@seealso Die Datei @file{scm/@/output@/-lib@/.scm} enthält vordefinierte Banjo-Stimmungen. diff --git a/Documentation/de/user/fundamental.itely b/Documentation/de/user/fundamental.itely index be8d32fa04..b2811f4a40 100644 --- a/Documentation/de/user/fundamental.itely +++ b/Documentation/de/user/fundamental.itely @@ -285,11 +285,12 @@ Sonderzeichen, etc.) und er darf nicht wie ein LilyPond-Befehl lauten. Die genauen Einschränkungen sind beschrieben in @ruser{File structure}. -@seealso +@seealso Eine vollständige Definition des Eingabeformats findet sich in @ruser{File structure}. + @node Score is a (single) compound musical expression @subsection Score is a (single) compound musical expression @@ -449,8 +450,8 @@ genau mit den Einzügen zu sein, so dass jede Zeile, die der gleichen Ebene angehört, wirklich horizontal an der gleichen Stelle beginnt. -@seealso +@seealso Benutzerhandbuch: @ruser{Structure of a score}. @@ -517,8 +518,8 @@ dass die neue Notenzeile oberhalb der bereits existierenden Zeile mit Namen @qq{Hauptzeile} plaziert werden soll, anstatt standardmäßig unterhalb. -@seealso +@seealso Ossia werden oft ohne Notenschlüssel und Taktangabe gedruck, meist auch etwas kleiner als die anderen Notenzeilen. Dies ist natürlich auch in LilyPond möglich, benötigt aber Befehle, die bisher noch @@ -979,8 +980,8 @@ anzupassen. Wir sind aber noch nicht so weit, dass wir diese Funktionen anwenden könnten. Darum heben wir uns das Problem für einen späteren Abschnitt auf; siehe @code{force-hshift}-Eigenschaft in @ref{Fixing overlapping notation}. -@seealso +@seealso Notationsreferenz: @ruser{Multiple voices}. @@ -1223,8 +1224,8 @@ definiert, wird die Fehlermeldung @qq{zu viele kollidierende Notenspalten werden ignoriert} ausgegeben. -@seealso +@seealso Notationsreferenz: @ruser{Multiple voices}. @@ -1580,8 +1581,8 @@ refrainwordsB = \lyricmode { } @end lilypond -@seealso +@seealso Notation Reference: @ruser{Vocal music}. @@ -1685,8 +1686,8 @@ begonnen und direkt an das folgende ohne Bindestrich oder Unterstrich angeschlossen, etwa @code{GregorianTranscriptionStaff}. -@seealso +@seealso Notationreferenz: @ruser{Contexts explained}. @@ -1806,8 +1807,8 @@ benutzt, um später auf genau diesen spezifischen Kontext zu verweisen. Dieses Vorgehen wurde schon in dem Abschnitt zu Gesangstexten angewandt, siehe @ref{Voices and vocals}. -@seealso +@seealso Notationsreferenz: @ruser{Creating contexts}. @@ -1900,8 +1901,8 @@ Es soll später gezeigt werden, wie die LilyPond-Ausgabe verändert werden kann, indem die Wirkungsweise der Engraver beeinflusst wird. -@seealso +@seealso Referenz der Interna: @rinternals{Engravers and Performers}. @@ -2196,8 +2197,8 @@ bestimmten Kontexte überschrieben werden, indem die @code{\with}-Konstruktion eingesetzt wird, oder mit @code{\set}-Befehlen innerhalb der aktuellen Noten. -@seealso +@seealso Notationsreferenz: @ruser{Changing context default settings}. @c FIXME @@ -2362,8 +2363,8 @@ alle Kontexte eines bestimmten Typs auf die gleiche Weise geändert werden, indem der @code{\set}-Befehl in einer @code{\context}-Umgebung angewendet wird. -@seealso +@seealso Notationsreferenz: @ruser{Modifying context plug-ins}, @ruser{Changing context default settings}. @@ -2579,6 +2580,7 @@ celloMusic = \relative c { } @end lilypond + @seealso Die Vorlagen, mit denen wir begonnen haben, können im Anhang @qq{Vorlagen} gefunden werden, siehe diff --git a/Documentation/de/user/introduction.itely b/Documentation/de/user/introduction.itely index c1a50928ab..5e32edd019 100644 --- a/Documentation/de/user/introduction.itely +++ b/Documentation/de/user/introduction.itely @@ -578,10 +578,11 @@ Taktstriche usw. dagegen in einer Gruppe mit dem Namen @qq{Staff context} mehr als nur einen Voice-Kontext. Auf gleiche Weise können auch mehrere Staff-Kontexte in einen großen Score-Kontext (Partiturkontext) eingebunden werden. -@seealso +@seealso Programmreferenz: @rinternals{Contexts}. + @lilypond[quote,ragged-right] \include "engraver-example.ily" \score { diff --git a/Documentation/de/user/keyboards.itely b/Documentation/de/user/keyboards.itely index 9e3a10b28e..f5c9bed004 100644 --- a/Documentation/de/user/keyboards.itely +++ b/Documentation/de/user/keyboards.itely @@ -139,10 +139,10 @@ wird die Richtung auch über Pausen hinweg im Voraus bestimmt. @seealso - Im Handbuch: @rlearning{Single staff}. Programmreferenz: @rinternals{AutoChangeMusic}. + @knownissues @@ -179,8 +179,8 @@ Stimmenverlaufs ausgegeben werden. Das wird erreicht, indem >> @end lilypond -@seealso +@seealso Programmreferenz: @rinternals{VoiceFollower}. @@ -300,8 +300,8 @@ verlängert werden. c\sostenutoOn d e c, f g a\sostenutoOff @end lilypond -@seealso +@seealso Im Handbuch: @ref{Ties} diff --git a/Documentation/de/user/lilypond-book.itely b/Documentation/de/user/lilypond-book.itely index a0137df8c4..23f5973ec1 100644 --- a/Documentation/de/user/lilypond-book.itely +++ b/Documentation/de/user/lilypond-book.itely @@ -371,14 +371,13 @@ gewünschten Systeme übergeben wird: \begin@{lilypond@}...\end@{lilypond@} @end example + @seealso @command{lilypond-book} stellt auch zahlreiche Kommandozeilen-Optionen zur -Verfügung. Für eine Liste dieser Optionen und andere hilfreiche Details zur +Verfügung. Für eine Liste dieser Optionen und andere hilfreiche Details zur Verarbeitung von @LaTeX{}-Dokumenten, siehe @ref{Invoking lilypond-book}. - - @node Texinfo @subsection Texinfo diff --git a/Documentation/de/user/percussion.itely b/Documentation/de/user/percussion.itely index 821b39cecf..e6f8fd14df 100644 --- a/Documentation/de/user/percussion.itely +++ b/Documentation/de/user/percussion.itely @@ -61,8 +61,8 @@ Eine vollständige Liste der Schlagwerk-Bezeichnungen findet sich in der Datei @file{ly/@/drumpitch@/-init@/.ly}. @c TODO: properly document this. -@seealso +@seealso Programmreferenz: @rinternals{note-event}. @@ -275,11 +275,11 @@ down = \drummode { bd4 sn bd toml8 toml } @seealso - Init-Dateien: @file{ly/@/drumpitch@/-init@/.ly}. Programmreferenz: @rinternals{DrumStaff}, @rinternals{DrumVoice}. + @knownissues Weil in den allgemeinen MIDI-Definitionen kein Rimshot enthalten ist, diff --git a/Documentation/de/user/pitches.itely b/Documentation/de/user/pitches.itely index 639754cf65..b5a30cfcb1 100644 --- a/Documentation/de/user/pitches.itely +++ b/Documentation/de/user/pitches.itely @@ -88,8 +88,8 @@ c, c,, e, g d,, d, d c @end lilypond -@seealso +@seealso Musikglossar: @rglos{Pitch names}. @@ -214,8 +214,7 @@ Intervall enthält. @seealso - -Musickgossar: +Musikglossar: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}. @@ -236,6 +235,7 @@ Referenz der Interna: @funindex \chordmode @funindex \relative + @knownissues Die relative Veränderung wirkt sich nicht auf @@ -371,8 +371,8 @@ cis @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {preventing-extra-naturals-from-being-automatically-added.ly} -@seealso +@seealso Musikglossar: @rglos{sharp}, @rglos{flat}, @@ -522,8 +522,8 @@ Sprachen sind noch keine eigenen Namen definiert. @end multitable @end smallexample -@seealso +@seealso Musikglossar: @rglos{Pitch names}. @@ -609,8 +609,8 @@ einen Fehler aus, die zweite dagegen ist erfolgreich: } @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Pitches}. @@ -729,8 +729,8 @@ siehe auch @ref{Instrument transpositions}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {transposing-pitches-with-minimum-accidentals-smart-transpose.ly} -@seealso +@seealso Notationsreferenz: @ref{Instrument transpositions}. @@ -740,6 +740,7 @@ Schnipsel: Referenz der Interna: @rinternals{TransposedMusic}. + @funindex \transpose @funindex \chordmode @funindex \relative @@ -861,7 +862,6 @@ c2 c @seealso - Notationsreferenz: @ref{Ancient clefs}. Schnipsel: @@ -950,7 +950,6 @@ fis @seealso - Musikglossar: @rglos{church mode}, @rglos{scordatura}. @@ -1005,7 +1004,6 @@ haben. @seealso - Musikglossar: @rglos{octavation}. @@ -1103,7 +1101,6 @@ c2 g @seealso - Musikglossar: @rglos{concert pitch}, @rglos{transposing instrument}. @@ -2082,7 +2079,6 @@ musicB = { @seealso - Schnipsel: @rlsr{Pitches}. @@ -2158,7 +2154,6 @@ Tonart definiert werden. @seealso - Musikglossar: @rglos{ambitus}. @@ -2232,8 +2227,8 @@ von Akkorden benutzt werden kann: Alle möglichen Notenkopf-Stile finden sich in @ref{Note head styles}. -@seealso +@seealso Schnipsel: @rlsr{Pitches}. @@ -2288,8 +2283,8 @@ sich in @ref{Setting the staff size}. @code{\easyHeadsOff}. @endpredefined -@seealso +@seealso Notationsreferenz: @ref{Setting the staff size}. @@ -2350,8 +2345,8 @@ entnommen wird. @noindent Alle Notenkopfstile finden sich in @ref{Note head styles}. -@seealso +@seealso Schnipsel: @rlsr{Pitches}. @@ -2403,7 +2398,6 @@ benutzt werden: @seealso - Schnipsel: @rlsr{Pitches}. diff --git a/Documentation/de/user/repeats.itely b/Documentation/de/user/repeats.itely index cb31559c15..e0663fba59 100644 --- a/Documentation/de/user/repeats.itely +++ b/Documentation/de/user/repeats.itely @@ -163,7 +163,6 @@ c1 @seealso - Musikglossar: @rglos{repeat}, @rglos{volta}. Notationsreferenz: @ref{Bar lines}, @ref{Modifying context plug-ins}. @@ -174,6 +173,7 @@ Referenz der Interna: @rinternals{VoltaBracket}, @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic}, @rinternals{UnfoldedRepeatedMusic}. + @knownissues @cindex verschachtelte Wiederholung @@ -318,7 +318,6 @@ voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } @seealso - Notationsreferenz: @ref{Bar lines}, @ref{Formatting text}. @@ -377,8 +376,8 @@ c1 c1 @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Repeats}. @@ -387,7 +386,6 @@ Referenz der Interna: @rinternals{UnfoldedRepeatedMusic}. - @node Short repeats @subsection Short repeats @@ -440,8 +438,8 @@ wobei @var{musikAusdr} ein musikalischer Ausdruck ist. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {isolated-percent-repeats.ly} -@seealso +@seealso Musikglossar: @rglos{percent repeat}, @rglos{simile}. Schnipsel: @rlsr{Repeats}. @@ -451,6 +449,7 @@ Referenz der Interna: @rinternals{RepeatSlash}, @rinternals{DoublePercentRepeatCounter}, @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}. + @knownissues Nur drei Arten von Prozent-Wiederholungen sind unterstützt: ein @@ -527,14 +526,15 @@ c2:8 c:32 c: c: @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Repeats}. @cindex Tremolo über Systeme @cindex Systeme, Tremolo zwischen @cindex Zwischensystem-Tremolo + @knownissues Tremolo über Notensysteme hinweg funktioniert nicht gut. diff --git a/Documentation/de/user/rhythms.itely b/Documentation/de/user/rhythms.itely index c5293b0aed..66b75e4263 100644 --- a/Documentation/de/user/rhythms.itely +++ b/Documentation/de/user/rhythms.itely @@ -129,7 +129,6 @@ siehe @ref{Direction and placement}. @seealso - Glossar: @rglos{breve}, @rglos{longa}, @@ -243,7 +242,6 @@ zu setzen, siehe @ref{Scaling durations}. {permitting-line-breaks-within-beamed-tuplets.ly} @seealso - Glossar: @rglos{triplet}, @rglos{tuplet}, @@ -266,6 +264,7 @@ Referenz der Interna: @rinternals{TupletNumber}, @rinternals{TimeScaledMusic}. + @knownissues @cindex grace notes within tuplet brackets Wenn die erste Noten eines Systems ein Vorschlag (eine Verzierung) @@ -342,8 +341,8 @@ ausgedehnt werden kann: Eine Anwendung für diesen Befehl ist polymetrische Notation, siehe @ref{Polymetric notation}. -@seealso +@seealso Notationsreferenz: @ref{Tuplets}, @ref{Invisible rests}, @@ -483,8 +482,8 @@ spezifiziert werden, siehe die vordefinieren Befehle. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {engraving-ties-manually.ly} -@seealso +@seealso Glossar: @rglos{tie}, @rglos{laissez vibrer}. @@ -501,6 +500,7 @@ Referenz der Interna: @rinternals{TieColumn}, @rinternals{Tie}. + @knownissues Der Wechsel zwischen Systemen bei aktiver Überbindung produziert keinen @@ -582,8 +582,8 @@ a4\rest d4\rest @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {rest-styles.ly} -@seealso +@seealso Notationsreferenz: @ref{Full measure rests}. @@ -656,8 +656,8 @@ Durch ihn wird \skip 1 \skip1 \skip 1 @end lilypond -@seealso +@seealso Schnipsel: @rlsr{Rhythms}. @@ -665,7 +665,6 @@ Referenz der Interna: @rinternals{SkipMusic} - @node Full measure rests @unnumberedsubsubsec Full measure rests @@ -835,8 +834,8 @@ position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered. -@seealso +@seealso Glossar: @rglos{multi-measure rest}. @@ -982,7 +981,6 @@ a16 a a a a a a a a a a a @seealso - Glossar: @rglos{time signature} @@ -998,7 +996,6 @@ Referenz der Interna: @rinternals{Timing_translator}. - @node Upbeats @unnumberedsubsubsec Upbeats @@ -1037,8 +1034,8 @@ die anezigt, wie groß der Abstand zum Taktanfang ist. Deshalb ist sie eine negative Zahl; @code{\partial 4} wird also intern übersetzt zu: @qq{Eine Viertel bleibt übrig vom ganzen Takt.} -@seealso +@seealso Glossar: @rglos{anacrusis}. @@ -1051,6 +1048,7 @@ Schnipsel: Referenz der Interna: @rinternals{Timing_translator}. + @knownissues @code{\partial} ist nur für den Anfang eines Stückes vorgesehen. Wenn der @@ -1107,7 +1105,6 @@ d4 e d c @seealso - Glossar: @rglos{cadenza}. @@ -1117,6 +1114,7 @@ Glossar: Schnipsel: @rlsr{Rhythms}. + @knownissues LilyPond fügt Zeilen- und Seitenumbrüche nur an einer Taktlinie @@ -1238,7 +1236,6 @@ verschoben werden. @seealso - Glossar: @rglos{polymetric}, @rglos{polymetric time signature}, @@ -1250,11 +1247,12 @@ Notationreferenz: Schnipsel: @rlsr{Rhythms}. -Referenz der Intera: +Referenz der Interna: @rinternals{TimeSignature}, @rinternals{Timing_translator}, @rinternals{Staff}. + @knownissues Wenn unterschiedliche Taktarten paralell benutzt werden, werden @@ -1296,8 +1294,8 @@ Partituren auf Fehler überprüfen möchte: Wenn die Takte nicht vollständig gefüllt sind, zeigt die Überbindung genau an, wie viele Notenwerte noch in dem jeweiligen Takt fehlen. -@seealso +@seealso Glossar: @rglos{tie} Handbuch zum Lernen: @@ -1312,6 +1310,7 @@ Referenz der Interna: @rinternals{Completion_heads_engraver}, @rinternals{Forbid_line_break_engraver}. + @knownissues Nicht alle Notenwerte (besonders wenn sie andere rhythmische @@ -1388,8 +1387,8 @@ eingeschaltet wird mit @code{\improvisationOn}. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {guitar-strum-rhythms.ly} -@seealso +@seealso Schnipsel: @rlsr{Rhythms}. @@ -1398,7 +1397,6 @@ Referenz der Interna: @rinternals{Pitch_squash_engraver}. - @node Beams @subsection Beams @@ -1479,8 +1477,8 @@ c16 c8 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {changing-beam-knee-gap.ly} -@seealso +@seealso Notationsreferenz: @ref{Manual beams}, @ref{Setting automatic beam behavior}. @@ -1877,13 +1875,12 @@ Stimmen, die mit @code{<< @dots{} \\ @dots{} >>} gesetzt wurden. Wenn eine polyphone Stimme endet, während ein Balken noch Noten erwartet, wird dieser Balken nicht gesetzt. -@seealso +@seealso Schnipsel: @rlsr{Rhythms}. - @node Manual beams @unnumberedsubsubsec Manual beams @@ -1995,14 +1992,12 @@ Der @code{\featherDurations}-Befehl funktioniert nur mit kurzen Notenabschnitten, und wenn die Zahlen in den Brüchen klein sind. -@seealso +@seealso Snippets: @rlsr{Rhythms}. - - @node Bars @subsection Bars @@ -2152,8 +2147,8 @@ Die automatische erzeugte Taktlinie ist @code{"|"}. Das kann jederzeit durch den Befehl @code{\set Timing.defaultBarType = } @var{Takstrichart} geändert werden. -@seealso +@seealso Notationsreferenz: @ref{Line breaking}, @ref{Repeats}, @@ -2169,7 +2164,6 @@ staves), @rinternals{Timing_translator} (for Timing properties). - @node Bar numbers @unnumberedsubsubsec Bar numbers @@ -2306,13 +2300,13 @@ Bar numbers can be removed entirely by removing the @seealso - Schnipsel: @rlsr{Rhythms}. Referenz der Interna: @rinternals{BarNumber}. + @knownissues Taktnummern können mit der oberen Ecke der Klammer zu Beginn des @@ -2524,8 +2518,8 @@ mit dem Befehl @code{\musicglyph} ausgegeben werden können. sich in @ref{Formatting text}. -@seealso +@seealso Notationsreferenz: @ref{The Feta font}, @ref{Formatting text}. @@ -2543,7 +2537,6 @@ Referenz der Interna: @rinternals{RehearsalMark}. - @node Special rhythmic concerns @subsection Special rhythmic concerns @@ -2729,7 +2722,6 @@ in other staves: @seealso - Glossar: @rglos{grace notes}, @rglos{acciaccatura}, @@ -2820,8 +2812,8 @@ MyCadenza = \relative c' { >> @end lilypond -@seealso +@seealso Glossar: @rglos{cadenza}. @@ -2829,7 +2821,6 @@ Schnipsel: @rlsr{Rhythms}. - @node Time administration @unnumberedsubsubsec Time administration @@ -2906,7 +2897,6 @@ die Dauer Zähler/Nenner einer ganzen Note. Zum Beispiel heißt @seealso - Notationsreferenz: @ref{Bar numbers}, @ref{Unmetered music} diff --git a/Documentation/de/user/simultaneous.itely b/Documentation/de/user/simultaneous.itely index 5d6a06ebaa..2e396a48a0 100644 --- a/Documentation/de/user/simultaneous.itely +++ b/Documentation/de/user/simultaneous.itely @@ -66,8 +66,8 @@ Tonhöhe des vorherigen Akkords. Mehr Information über Akkorden findet sich in @ref{Chord notation}. -@seealso +@seealso Musikglossar: @rglos{chord}. @@ -80,6 +80,7 @@ Notationsreferenz: Schnipsel: @rlsr{Simultaneous notes}. + @node Simultaneous expressions @unnumberedsubsubsec Simultaneous expressions @@ -145,8 +146,8 @@ werden, sogar gleichzeitig. In solchen Fällen wird nicht versucht, automatisch Zusammenstöße zwischen normalen Noten und Clustern aufzulösen. -@seealso +@seealso Musikglossar: @rglos{cluster}. @@ -158,6 +159,7 @@ Referenz der Interna: @rinternals{ClusterSpannerBeacon}, @rinternals{Cluster_spanner_engraver}. + @knownissues Cluster sehen nur gut aus, wenn sie wenigstens über zwei Akkorde @@ -353,7 +355,6 @@ ergeben, wenn die Musikausdrücke nicht den gleichen Rhythmus haben. @seealso - Handbuch zum Lernen: @rlearning{Voices contain music}, @rlearning{Explicitly instantiating voices}. @@ -410,7 +411,6 @@ die Standardausgabe einzuschalten. @seealso - Handbuch zum Lernen: @rlearning{I'm hearing Voices}, @rlearning{Other sources of information}. @@ -419,7 +419,6 @@ Schnipsel: @rlsr{Simultaneous notes}. - @node Collision resolution @unnumberedsubsubsec Collision resolution @@ -582,8 +581,8 @@ Richtungen zeigen (also etwa wie @code{Voice} 1 und 2). @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {forcing-horizontal-shift-of-notes.ly} -@seealso +@seealso Musikglossar: @rglos{polyphony}. @@ -600,6 +599,7 @@ Referenz der Interna: @rinternals{NoteCollision}, @rinternals{RestCollision}. + @knownissues Wenn @code{\mergeDifferentlyHeadedOn} mit einer Achtel- oder @@ -708,8 +708,8 @@ die Tonhöhen von @var{musikAusdr1} oder @var{musikAusdr2}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-partcombine-texts.ly} -@seealso +@seealso Musikglossar: @rglos{a due}, @rglos{part}. @@ -724,6 +724,7 @@ Referenz der Interna: @rinternals{PartCombineMusic}, @rinternals{Voice}. + @knownissues @code{\partcombine} kann nur zwei Stimmen bearbeiten. @@ -867,8 +868,8 @@ global = { } @end lilypond -@seealso +@seealso Handbuch zum Lernen: @rlearning{Organizing pieces with variables}. diff --git a/Documentation/de/user/staff.itely b/Documentation/de/user/staff.itely index e84b90270e..146bef8878 100644 --- a/Documentation/de/user/staff.itely +++ b/Documentation/de/user/staff.itely @@ -247,8 +247,8 @@ Neue Systemgruppen können definiert werden. Zu Einzelheiten siehe {mensurstriche-layout-bar-lines-between-the-staves.ly} @c FIXME: move to NR 2.8.x when sectioning is ready -@seealso +@seealso Glossar: @rglos{brace}, @rglos{bracket}, @@ -273,7 +273,6 @@ Referenz der Interna: @rinternals{SystemStartSquare}. - @node Nested staff groups @unnumberedsubsubsec Nested staff groups @@ -333,7 +332,6 @@ Neue innere Systemgruppen können definiert werden. Zu Einzelheiten siehe @seealso - Notationsreferenz: @ref{Grouping staves}, @ref{Instrument names}, @@ -353,7 +351,6 @@ Referenz der Interna: @rinternals{SystemStartSquare}. - @node Modifying single staves @subsection Modifying single staves @@ -492,7 +489,6 @@ e4 d c2 @seealso - Glossar: @rglos{line}, @rglos{ledger line}, @@ -666,7 +662,6 @@ findet sich in @seealso - Glossar: @rglos{ossia}, @rglos{staff}, @@ -776,7 +771,6 @@ leere Takte in einem @seealso - Glossar: @rglos{Frenched staff}. @@ -894,7 +888,6 @@ Zu Einzelheiten siehe @ref{Formatting text}. @seealso - Glossar: @rglos{metronome}, @rglos{metronomic indication}, @@ -1061,7 +1054,6 @@ wird dann benutzt, um den Wechsel vorzunhemen: @seealso - Notationsreferenz: @ref{Horizontal dimensions}, @ref{Modifying context plug-ins}. @@ -1180,7 +1172,6 @@ vorgestellt in @seealso - Notationsreferenz: @ref{Instrument transpositions}, @ref{Using tags}. @@ -1345,7 +1336,6 @@ vorgestellt in @seealso - Notationsreferenz: @ref{Instrument transpositions}, @ref{Instrument names}, diff --git a/Documentation/de/user/text.itely b/Documentation/de/user/text.itely index b0dc6bd4ee..f3e9f2db0e 100644 --- a/Documentation/de/user/text.itely +++ b/Documentation/de/user/text.itely @@ -101,7 +101,6 @@ a4_"scherzando" f @seealso - Notationsreferenz: @ref{Formatting text}, @ref{Direction and placement}. @@ -112,6 +111,7 @@ Schnipsel: Referenz der Interna: @rinternals{TextScript}. + @knownissues Eine Überprüfung, ob sich auch alle Textbeschriftungen und Gesangstext @@ -173,7 +173,6 @@ geändert werden. Diese Syntax ist beschrieben in @ref{Line styles}. @seealso - Notationsreferenz: @ref{Line styles}, @ref{Dynamics}. @@ -185,7 +184,6 @@ Referenz der Interna: @rinternals{TextSpanner}. - @node Text marks @unnumberedsubsubsec Text marks @@ -260,8 +258,8 @@ c c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {printing-marks-on-every-staff.ly} -@seealso +@seealso Notationsreferenz: @ref{Rehearsal marks}, @ref{Formatting text}, @@ -274,6 +272,7 @@ Schnipsel: Referenz der Interna: @rinternals{RehearsalMark}. + @knownissues @c To be removed when Issue 69 in the tracker gets fixed. -vv @@ -341,8 +340,8 @@ sich in @ref{Multi-page markup}. TODO: add convenient snippets in input/new -vv @end ignore -@seealso +@seealso Notationsreferenz: @ref{Formatting text}, @ref{File structure}, @@ -356,7 +355,6 @@ Referenz der Interna: @rinternals{TextScript}. - @node Formatting text @subsection Formatting text @@ -466,7 +464,6 @@ Eine ausführliche Liste der @code{\markup}-Befehle findet sich in @seealso - Notationsreferenz: @ref{Text markup commands}. @@ -641,7 +638,6 @@ Es ist auch möglich, eigene Schriftfamlien zu definieren, wie erklärt in @seealso - Notationsreferenz: @ref{Font}, @ref{New dynamic marks}, @@ -865,6 +861,7 @@ linksbündig oder im Blocksatz, wie das nächste Beispiel illustriert: Eine vollständige Liste der Textausrichtungsbefehle findet sich in @ref{Align}. + @seealso Handbuch zum Lernen: @rlearning{Moving objects}. @@ -883,7 +880,6 @@ Referenz der Interna: @rinternals{TextScript}. - @node Graphic notation inside markup @unnumberedsubsubsec Graphic notation inside markup @@ -1032,6 +1028,7 @@ c Eine ausführliche Liste der Graphik-Befehle findet sich in @ref{Graphic}. + @seealso Notationsreferenz: @ref{Graphic}, @@ -1048,7 +1045,6 @@ Installierte Dateien: @file{scm/@/stencil@/.scm}. - @node Music notation inside markup @unnumberedsubsubsec Music notation inside markup @@ -1163,6 +1159,7 @@ c d e f Eine vollständige Liste der Musiksymbol-Befehle findet sich in @ref{Music}. + @seealso Notationsreferenz: @ref{Music}, @@ -1181,7 +1178,6 @@ Installierte Dateien: @file{scm/@/harp@/-pedals@/.scm}. - @node Multi-page markup @unnumberedsubsubsec Multi-page markup @@ -1217,6 +1213,7 @@ eine Liste von Beschriftungslisten. Eine vollständige Liste der Beschriftungslistenbefehle findet sich in @ref{Text markup list commands}. + @seealso Notationsreferenz: @ref{Text markup list commands}, @@ -1351,8 +1348,8 @@ umzuschalten, kann man auch eigene Schriftarten verwenden, wie erklärt in folgenden Abschnitten: @ref{Single entry fonts} und @ref{Entire document fonts}. -@seealso +@seealso Notationsreferenz: @ref{The Feta font}, @ref{Music notation inside markup}, @@ -1391,8 +1388,8 @@ lilypond -dshow-available-fonts x Das letzte Argument kann ein beliebiges Zeichen sein, aber es darf nicht fehlen. -@seealso +@seealso Notationsreferenz: @ref{Fonts explained}, @ref{Entire document fonts}. @@ -1404,7 +1401,6 @@ Installierte Dateien: @file{lily/@/font@/-config@/-scheme@/.cc}. - @node Entire document fonts @unnumberedsubsubsec Entire document fonts @@ -1438,8 +1434,8 @@ Familien in @ref{Fonts explained}. @c we don't do Helvetica / Courier, since GS incorrectly loads @c Apple TTF fonts -@seealso +@seealso Notationsreferenz: @ref{Fonts explained}, @ref{Single entry fonts}, diff --git a/Documentation/de/user/tutorial.itely b/Documentation/de/user/tutorial.itely index ab89f2df11..faecf1f563 100644 --- a/Documentation/de/user/tutorial.itely +++ b/Documentation/de/user/tutorial.itely @@ -499,13 +499,13 @@ Hier ist ein kleines Beispiel, dass all diese Definitionen beinhaltet: } @end lilypond + @seealso Notationsreferenz: @ruser{Writing pitches}, @ruser{Writing rhythms}, @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}. - @node Working on input files @subsection Working on input files @@ -686,8 +686,8 @@ bei dem Beispiel selber erreichen, müssen Sie alles kopieren ab der Zeile @qq{Start cut-&-pastable section} bis ganz zum Ende der Datei. -@seealso +@seealso Mehr Hinweise dazu, wie LilyPond-Eingabedateien konstruiert werden sollten, finden sich in @ref{Suggestions for writing LilyPond input files}. Es ist aber wahrscheinlich am Besten, zuerst @@ -839,8 +839,8 @@ unterschiedlichen Regeln erfolgen kann. Siehe @ruser{Automatic accidentals} für einige Beispiele, wie Vorzeichen anhand von unterschiedlichen Regeln ausgegeben werden können. -@seealso +@seealso Notationsreferenz: @ruser{Note names in other languages}, @ruser{Accidentals}, @ruser{Automatic accidentals}, @ruser{Key signature}. @@ -920,8 +920,8 @@ geschachtelt werden. c2~( c8 fis fis4 ~ fis2 g2) @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing slurs}. @@ -1013,8 +1013,8 @@ Auch mit dem Befehl @code{\!} kann es explizit beendet werden. c2\< c2\ff\> c2 c2\! @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Articulations and ornamentations}, @ruser{Fingering instructions}, @ruser{Dynamics}. @@ -1047,8 +1047,8 @@ a1_\markup{ } @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Writing text}. @@ -1097,8 +1097,8 @@ a8 c b4 d8. c16 b4 a8 c b4 d8. c16 b4 @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Automatic beams}, @ruser{Manual beams}. @@ -1172,8 +1172,8 @@ c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Grace notes}, @ruser{Tuplets}, @ruser{Upbeats}. @@ -1464,8 +1464,8 @@ des Systems erstellt werden und der zusätzlich auch darüber entscheidet, ob die Taktlinien nur auf dem System oder auch zwischen System gesetzt werden. -@seealso +@seealso Notationsreferenz: @ruser{Keyboard and other multi-staff instruments}, @@ -1573,8 +1573,8 @@ kombiniert werden. >> @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{Simultaneous notes}. @@ -1822,7 +1822,6 @@ in Figaros Arie @notation{Largo al factotum} gesungen werden mus. @seealso - Notationsreferenz: @ruser{Vocal music}. @@ -1864,8 +1863,8 @@ werden besser notiert, indem man die Systemstruktur von den Noten und dem Gesangstext durch Variablen trennt. Die Benutzung von Variablen wird erklärt im Abschnitt @ref{Organizing pieces with variables}. -@seealso +@seealso Notationsreferenz: @ruser{Vocal music}. diff --git a/Documentation/de/user/tweaks.itely b/Documentation/de/user/tweaks.itely index 49ca61c8a8..a9ce932dc3 100644 --- a/Documentation/de/user/tweaks.itely +++ b/Documentation/de/user/tweaks.itely @@ -431,15 +431,12 @@ beginnen, kann ihr Aussehen auf die übliche Art mit dem } @end lilypond -@seealso +@seealso Notationsreferenz: @ruser{The tweak command}. - - - @node The Internals Reference manual @section The Internals Reference manual @@ -962,8 +959,8 @@ wenn sie in einem @code{\override}-Befehl benutzt werden. @tab @code{'#(#t #t #f)} @end multitable -@seealso +@seealso Handbuch zum Lernen: @ref{Scheme tutorial}. diff --git a/Documentation/es/user/ancient.itely b/Documentation/es/user/ancient.itely index 4cd10b4aba..4888f43a77 100644 --- a/Documentation/es/user/ancient.itely +++ b/Documentation/es/user/ancient.itely @@ -209,8 +209,10 @@ especializados en ligaduras del contexto @rinternals{Voice}, como se explica en @ref{White mensural ligatures} y @ref{Gregorian square neume ligatures}. + @seealso + @knownissues Las ligaduras necesitan un espaciado especial que aún no se ha @@ -296,8 +298,8 @@ fragmento: } @end lilypond -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{Custos}. @@ -360,8 +362,10 @@ escribir el canto, como lo demuestra el siguiente fragmento: } @end lilypond + @seealso + @node Mensural clefs @unnumberedsubsubsec Mensural clefs @@ -471,11 +475,12 @@ clave de Sol en el estilo de Petrucci @end lilypond @end multitable -@seealso +@seealso Referencia de la notación: @ref{Clef}. + @knownissues La clave de Sol mensural está asignada a la clave de Sol de Petrucci. @@ -571,8 +576,8 @@ que existen entre los estilos: } @end lilypond -@seealso +@seealso Referencia de la notación: @ref{Time signature} ofrece una introducción general al uso de las indicaciones de compás. @@ -638,8 +643,8 @@ a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a' @end lilypond -@seealso +@seealso @ref{Note head styles} ofrece una visión de conjunto sobre la totalidad de los estilos de cabeza disponibles. @@ -670,8 +675,10 @@ No existe un estilo particular de corchete para la notación neo-mensural. No existen corchetes en la notación del canto gregoriano. + @seealso + @knownissues La unión de los corchetes antiguos a las plicas está ligeramente @@ -722,8 +729,8 @@ silencios. No hay silencios en la notación del canto gregoriano; en su lugar, se utilizan @ref{Divisiones}. -@seealso +@seealso Referencia de la notación: @ref{Rests} ofrece una introducción general al uso de los silencios. @@ -773,8 +780,8 @@ elementos gráficos @rinternals{Accidental} y @code{\override Staff.Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist} -@seealso +@seealso Referencia de la notación: @ref{Pitches}, @ref{Accidentals} y @@ -786,6 +793,7 @@ ofrece una introducción general al uso de las armaduras de tonalidad. Referencia de funcionamiento interno: @rinternals{KeySignature}. + @cindex alteraciones accidentales @@ -828,8 +836,8 @@ ficta = { \once \set suggestAccidentals = ##t } } @end lilypond -@seealso +@seealso Referencia de funcionamiento interno: el grabador @rinternals{Accidental_engraver} y el objeto @@ -913,8 +921,10 @@ transcribe de la siguiente manera: } @end lilypond + @seealso + @knownissues El espaciado horizontal es pobre. @@ -979,6 +989,7 @@ como lo demuestra el siguiente fragmento: } @end lilypond + @seealso @@ -1114,8 +1125,8 @@ Clave combinada de Do y Fa, estilo hufnagel @end lilypond @end multitable -@seealso +@seealso Referencia de la notación: @ref{Clef}. @@ -1175,8 +1186,8 @@ respectivamente; p.ej.: @code{\override Staff.Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist} -@seealso +@seealso Referencia de la notación: @ref{Pitches}, @ref{Accidentals} y @@ -1260,8 +1271,10 @@ la notación en el estilo de la @emph{Editio Vaticana}. } @end lilypond + @seealso + @knownissues Ciertas articulaciones se colocan demasiado cerca verticalmente de las @@ -1295,8 +1308,8 @@ de @code{\augmentum a \augmentum g}. } @end lilypond -@seealso +@seealso Referencia de la notación: @ref{Breath marks}. @@ -2225,8 +2238,10 @@ descendente, respectivamente. Utilice la función musical unaria @code{\augmentum} para añadir puntos de augmentum. + @seealso + @knownissues Cuando aparece un punto de @code{\augmentum} al final de la última @@ -2274,6 +2289,7 @@ polifónica; Continuará... + @seealso @@ -2294,6 +2310,7 @@ proporcionan las barras de compás. Continuará... + @seealso @@ -2302,19 +2319,24 @@ Continuará... Continuará... + @seealso + @node Ancient and modern from one source @unnumberedsubsubsec Ancient and modern from one source Continuará... + @seealso + @node Editorial markings @unnumberedsubsubsec Editorial markings Continuará... + @seealso diff --git a/Documentation/es/user/changing-defaults.itely b/Documentation/es/user/changing-defaults.itely index ff81a18e88..6ec3af7a17 100644 --- a/Documentation/es/user/changing-defaults.itely +++ b/Documentation/es/user/changing-defaults.itely @@ -67,8 +67,8 @@ Esta sección explica qué son los contextos y cómo modificarlos. * Aligning contexts:: @end menu -@seealso +@seealso Manual de aprendizaje: @rlearning{Contexts and engravers}. @@ -1185,7 +1185,6 @@ tales como @seealso - Referencia de funcionamiento interno: @rinternals{OverrideProperty}, @rinternals{RevertProperty}, @@ -1499,14 +1498,15 @@ puede examinarse, véase @ref{Displaying music expressions}. Esto puede ser de utilidad en la determinación de lo que puede modificarse por medio de una instrucción @code{\tweak}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Tweaking methods}. Referencia de la notación: @ref{Displaying music expressions}. + @knownissues @cindex trucos en una variable @@ -1830,8 +1830,8 @@ convertir de un cambio en el tamaño de la fuente al cambio equivalente en @code{staff-space}. Para ver una explicación y un ejemplo de su utilización, consulte @rlearning{Length and thickness of objects}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Length and thickness of objects}. @@ -2173,8 +2173,8 @@ c2 \< c2 c2 Si se usa @code{\endSpanners} no es necesario cerrar \startTextSpan con \stopTextSpan, ni cerrar los reguladores con @code{\!}. -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{TextSpanner}, @rinternals{Glissando}, @@ -2527,8 +2527,8 @@ Para los cambios de clave explícitos, la propiedad @code{explicitClefVisibility} controla tanto el símbolo de clave como el símbolo de octava asociado. -@seealso +@seealso Manual de aprendizaje: @rlearning{Visibility and color of objects} @@ -2661,8 +2661,8 @@ ajustes finos a la apariencia de la partitura impresa. * Modifying shapes:: @end menu -@seealso +@seealso Manual de aprendizaje: @rlearning{Tweaking output}, @rlearning{Other sources of information}. @@ -3035,8 +3035,8 @@ font}. @c TODO Add inserting Postscript or ref to later -@seealso +@seealso Referencia de la notación: @ref{Graphic notation inside markup}, @ref{Formatting text}, diff --git a/Documentation/es/user/chords.itely b/Documentation/es/user/chords.itely index 51d1485f45..79bd49158b 100644 --- a/Documentation/es/user/chords.itely +++ b/Documentation/es/user/chords.itely @@ -76,8 +76,8 @@ secuencial: \chordmode { f2 g } @end lilypond -@seealso +@seealso Glossario musical: @rglos{chord}. @@ -88,6 +88,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Chords} + @knownissues Cuando se mezclan los modos de acorde y de nota en música secuencial, @@ -166,11 +167,12 @@ modificador para crear una tríada mayor. @end table -@seealso +@seealso Fragmentos de código: @rlsr{Chords}. + @node Extended and altered chords @unnumberedsubsubsec Extended and altered chords @@ -304,11 +306,12 @@ de ser movida por efecto de una inversión, mediante el uso de } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Chords} + @knownissues Cada nota sólo puede estar presente en el acorde una sola vez. Lo que @@ -416,8 +419,8 @@ inversiones o bajos añadidos: @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {simple-lead-sheet.ly} -@seealso +@seealso Glosario musical: @rglos{chord}. @@ -434,6 +437,7 @@ Referencia de funcionamiento interno: @rinternals{Volta_engraver}, @rinternals{Bar_engraver}. + @knownissues Los acordes que contienen inversiones o bajos alterados no reciben un @@ -588,8 +592,8 @@ puede establecer para que sea cualquier elemento de marcado. } @end lilypond -@seealso +@seealso Referencia de la notación: @ref{Chord name chart}. @@ -604,6 +608,7 @@ Fragmentos de código: @c Internals Reference: @c @rinternals{ }. + @knownissues Los nombres de acorde se determinan a partir de las notas que están @@ -685,8 +690,8 @@ impresión de las cifras. Por ejemplo, el espaciado vertical de las cifras se puede ajustar con @code{baseline-skip}. @end ignore -@seealso +@seealso Glosario musical: @rglos{figured bass}. @@ -874,8 +879,8 @@ Fin de línea de continuación @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-the-positions-of-figured-bass-alterations.ly} -@seealso +@seealso Fragmentos de código: @rlsr{Chords}. @@ -887,8 +892,10 @@ Referencia de funcionamiento interno: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @c @knownissues + @node Displaying figured bass @unnumberedsubsubsec Displaying figured bass @@ -996,19 +1003,19 @@ instead of @seealso @c Music Glossary: @c @rg los{}. - +@c @c Learning Manual: @c @rle arning{}. - +@c @c Notation Reference: @c @re f{}. - +@c @c Application Usage: @c @rpr ogram{}. - +@c @c Installed Files: @c @fil e{}. - +@c Snippets: @rlsr{Chords}. @@ -1020,6 +1027,7 @@ Referencia de funcionamiento interno: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @knownissues Para asegurar que las líneas extensoras funcionan adecuadamente, lo diff --git a/Documentation/es/user/editorial.itely b/Documentation/es/user/editorial.itely index 2dc4968749..76b1f8872c 100644 --- a/Documentation/es/user/editorial.itely +++ b/Documentation/es/user/editorial.itely @@ -139,7 +139,6 @@ contemplan el interfaz de presentación @code{font-interface}. @seealso - Fragmentos de código: @rlsr{Editorial annotations}. @@ -202,8 +201,8 @@ and placement}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {allowing-fingerings-to-be-printed-inside-the-staff.ly} -@seealso +@seealso Referencia de la notación: @ref{Direction and placement} @@ -264,7 +263,6 @@ e4(\p f)-- @seealso - Fragmentos de código: @rlsr{Editorial annotations}. @@ -354,8 +352,8 @@ gis8 a gis4 a @end lilypond -@seealso +@seealso Referencia de la notación: @ref{List of colors}, @ref{The tweak command}. @@ -363,6 +361,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Editorial annotations}. + @cindex x11, color de @cindex coloreadas, notas de acorde @cindex notas coloreadas en acordes @@ -412,8 +411,8 @@ c2-\parenthesize -. d c2 \parenthesize r @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Editorial annotations}. @@ -422,6 +421,7 @@ Referencia de funciionamiento interno: @rinternals{ParenthesesItem}, @rinternals{parentheses-interface}. + @knownissues Al poner un acorde entre paréntesis, se encierra cada una de las notas @@ -460,6 +460,7 @@ crean pero se hacen invisibles. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {default-direction-of-stems-on-the-center-line-of-the-staff.ly} + @seealso Referencia de la notación: @ref{Direction and placement}. @@ -549,7 +550,6 @@ pero esto puede cambiarse: @seealso - Fragmentos de código: @rlsr{Editorial annotations}. @@ -617,7 +617,6 @@ especificar la duración entre las líneas de rejilla. @seealso - Fragmentos de código: @rlsr{Editorial annotations}. @@ -680,8 +679,8 @@ Los corchetes de análisis se pueden anidar. } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Editorial annotations}. diff --git a/Documentation/es/user/expressive.itely b/Documentation/es/user/expressive.itely index c9b633342d..c6394ee167 100644 --- a/Documentation/es/user/expressive.itely +++ b/Documentation/es/user/expressive.itely @@ -126,8 +126,7 @@ por debajo del pentagrama, véase @ref{Direction and placement}. @seealso - -Gloario musical: +Glosario musical: @rglos{tenuto}, @rglos{accent}, @rglos{staccato}, @@ -351,8 +350,8 @@ parte de @rinternals{DynamicLineSpanner}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-text-and-spanner-styles-for-text-dynamics.ly} -@seealso +@seealso Glosario musical: @rglos{al niente}, @rglos{crescendo}, @@ -466,8 +465,8 @@ moltoF = #(make-dynamic-script Los ajustes para las fuentes tipográficas en el modo de marcado se describen en @ref{Selecting font and font size}. -@seealso +@seealso Referencia de la notación: @ref{Formatting text}, @ref{Selecting font and font size}, @@ -588,7 +587,6 @@ g4( e c2) @seealso - Glosario musical: @rglos{slur}. @@ -663,7 +661,6 @@ No se pueden tener varias ligaduras de fraseo simultáneas o solapadas. @seealso - Manual de aprendizaje: @rlearning{On the un-nestedness of brackets and ties}. @@ -705,8 +702,8 @@ detalles, consulte @ref{Divisiones}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {inserting-a-caesura.ly} -@seealso +@seealso Glosario musical: @rglos{caesura}. @@ -752,8 +749,8 @@ al escribir caídas y elevaciones. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {adjusting-the-shape-of-falls-and-doits.ly} -@seealso +@seealso Glosario musical: @rglos{fall}, @rglos{doit}. @@ -797,8 +794,8 @@ consulte @ref{Line styles}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {contemporary-glissando.ly} -@seealso +@seealso Glosario musical: @rglos{glissando}. @@ -811,6 +808,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{Glissando}. + @knownissues La impresión de texto sobre la línea (como @notation{gliss.}) no está @@ -903,8 +901,8 @@ Los acordes arpegiados se pueden desarrollar explícitamente utilizando @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {creating-arpeggios-across-notes-in-different-voices.ly} -@seealso +@seealso Glosario musical: @rglos{arpeggio}. @@ -918,6 +916,7 @@ Referencia de funcionamiento interno: @rinternals{Arpeggio}, @rinternals{PianoStaff}. + @knownissues @cindex pentagrama cruzado, arpegios con paréntesis @@ -1007,7 +1006,6 @@ g\stopTrillSpan @seealso - Glosario musical: @rglos{trill}. diff --git a/Documentation/es/user/fretted-strings.itely b/Documentation/es/user/fretted-strings.itely index 629d11df1b..24d4a5e2c8 100644 --- a/Documentation/es/user/fretted-strings.itely +++ b/Documentation/es/user/fretted-strings.itely @@ -74,8 +74,8 @@ Las instrucciones para el manejo de varias voces se describe en @end itemize -@seealso +@seealso Referencia de la notación: @ref{Fingering instructions}, @ref{Ties}, @@ -86,6 +86,7 @@ Referencia de la notación: @ref{List of articulations}, @ref{Clef}. + @node String number indications @unnumberedsubsubsec String number indications @@ -125,8 +126,8 @@ estos elementos en el código: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {allowing-fingerings-to-be-printed-inside-the-staff.ly} -@seealso +@seealso Referencia de la notación: @ref{Fingering instructions}. @@ -215,8 +216,8 @@ notación de tablatura. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {polyphony-in-tablature.ly} -@seealso +@seealso Referencia de la notación: @ref{Stems}. @@ -229,6 +230,7 @@ Referencia de funcionamiento interno: @rinternals{TabVoice}, @rinternals{Beam}. + @knownissues Los acordes no se tratan de una forma especial, y de aquí que el @@ -340,8 +342,8 @@ mynotes = { >> @end lilypond -@seealso +@seealso Archivos de inicio: @file{scm/output-lib.scm}. @@ -712,8 +714,8 @@ trastes, las propiedades del interface pertenecen a @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {customizing-markup-fret-diagrams.ly} -@seealso +@seealso Referencia de la notación: @ref{Text markup commands}. @@ -723,6 +725,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{fret-diagram-interface}. + @node Predefined fret diagrams @unnumberedsubsubsec Predefined fret diagrams @@ -964,8 +967,8 @@ predefinido, las propiedades de interface pertenecen a @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {defining-predefined-fretboards-for-other-instruments.ly} -@seealso +@seealso Referencia de la notación: @ref{Custom tablatures}, @ref{Automatic fret diagrams}, @@ -1129,7 +1132,6 @@ interface @code{fret-diagram-interface}. Los detalles están en @seealso - Referencia de la notación: @ref{Custom tablatures}. @@ -1182,8 +1184,8 @@ corto, como por ejemplo @code{RH}: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {fingerings,-string-indications,-and-right-hand-fingerings.ly} -@seealso +@seealso Fragmentos de código: @rlsr{Fretted strings}. @@ -1230,8 +1232,8 @@ b16 d g b e e16 b g d @end lilypond -@seealso +@seealso Referencia de la notación: @ref{Text spanners}. @@ -1239,6 +1241,7 @@ Fragmentos de código: @rlsr{Fretted strings}, @rlsr{Expressive marks}. + @node Indicating harmonics and dampened notes @unnumberedsubsubsec Indicating harmonics and dampened notes @@ -1261,8 +1264,8 @@ con un marcado de texto. } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Fretted strings}. @@ -1270,6 +1273,7 @@ Referencia de la notación: @ref{Special note heads}, @ref{Note head styles}. + @node Banjo @subsection Banjo @@ -1325,8 +1329,8 @@ cuatro cuerdas utilizando la función @code{four-string-banjo}: \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) @end example -@seealso +@seealso Fragmentos de código: @rlsr{Fretted strings}. diff --git a/Documentation/es/user/fundamental.itely b/Documentation/es/user/fundamental.itely index c026ead8b9..d4e6942a46 100644 --- a/Documentation/es/user/fundamental.itely +++ b/Documentation/es/user/fundamental.itely @@ -257,11 +257,12 @@ nombres de instrucción de LilyPond. Las limitaciones exactas que afectan a los nombres de variable se detallan en @ruser{File structure}. -@seealso +@seealso Para ver una definición completa del formato del código de entrada, consulte @ruser{File structure}. + @node Score is a (single) compound musical expression @subsection Score is a (single) compound musical expression @@ -414,8 +415,8 @@ ayuda ser muy estricto con los márgenes (asegúrese de que en su editor de texto cada elemento del mismo nivel comienza en la misma posición horizontal). -@seealso +@seealso Referencia de la notación: @ruser{Structure of a score}. @@ -483,8 +484,8 @@ de un solo pentagrama. Aquí, dice que el pentagrama nuevo se debe colocar por encima del pentagrama llamado @qq{main} en vez de la posición predeterminada que sería por debajo. -@seealso +@seealso Los fragmentos de ossia se escriben a menudo sin clave y sin indicación de compás, y generalmente en un tipo más pequeño. Esto necesitaría más instrucciones que aún no se han visto. Véase @@ -953,8 +954,8 @@ estamos preparados para ver cómo corregir esto, así que dejaremos este problema aparcado hasta una sección posterior (véase la propiedad @code{force-hshift} en @ref{Fixing overlapping notation}). -@seealso +@seealso Referencia de la notación: @ruser{Multiple voices}. @@ -1203,8 +1204,8 @@ voces no tienen ningún desplazamiento o llevan especificado el mismo desplazamiento, se producirá el mensaje de error @qq{Chocan demasiadas columnas de notas}. -@seealso +@seealso Referencia de la notación: @ruser{Multiple voices}. @@ -1564,8 +1565,8 @@ refrainwordsB = \lyricmode { } @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Vocal music}. @@ -1663,11 +1664,12 @@ palabras que comienzan con mayúscula y que están unidas unas a otras sin guión ni barra baja, por ejemplo: @code{GregorianTranscriptionStaff}. -@seealso +@seealso Referencia de la notación: @ruser{Contexts explained}. + @node Creating contexts @subsection Creating contexts @@ -1779,8 +1781,8 @@ referirnos más tarde a esa instancia en particular de un contexto. Hemos visto esto en la sección acerca de la letra, en @ref{Voices and vocals}. -@seealso +@seealso Referencia de la notación: @ruser{Creating contexts}. @@ -1869,8 +1871,8 @@ a partir del nombre (en inglés), y viceversa. Más adelante veremos cómo la salida de LilyPond se puede cambiar mediante la modificación del funcionamiento de los Grabadores. -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{Engravers and Performers}. @@ -2172,8 +2174,8 @@ sobreescribir para ejemplares concretos de contextos mediante enunciados dentro de un bloque @code{\with}, y mediante instrucciones @code{\set} intercaladas dentro de enunciados musicales. -@seealso +@seealso Referencia de la notación: @ruser{Changing context default settings}. @c FIXME @@ -2332,8 +2334,8 @@ también se pueden establecer para todos los contextos de un tipo en particular incluyendo la instrucción @code{\set} dentro de un bloque @code{\context} de la misma forma. -@seealso +@seealso Referencia de la notación: @ruser{Modifying context plug-ins}, @ruser{Changing context default settings}. @@ -2541,8 +2543,8 @@ celloMusic = \relative c { } @end lilypond -@seealso +@seealso Las plantillas de inicio se pueden encontrar en el apéndice @q{Templates}, véase @ref{Single staff}. diff --git a/Documentation/es/user/input.itely b/Documentation/es/user/input.itely index a8fe7d64d4..1a5fb0ea72 100644 --- a/Documentation/es/user/input.itely +++ b/Documentation/es/user/input.itely @@ -99,8 +99,8 @@ pueden escribir en cualquier lugar dentro del archivo de entrada. Se pueden escribir dentro o fuera del bloque @code{\score}, y dentro o fuera de la expresión musical única dentro del bloque @code{\score}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Working on input files}, @rlearning{Music expressions explained}, @@ -368,8 +368,8 @@ Un comentario de varias líneas, delimitado por @code{%@{ .. %@}}. @end itemize -@seealso +@seealso Manual de aprendizaje: @rlearning{How LilyPond input files work}. @@ -811,8 +811,8 @@ tocAct = } @end lilypond -@seealso +@seealso Archivos de inicio: @file{ly/@/toc@/-init@/.ly}. @@ -933,12 +933,13 @@ instalar una nueva versión de LilyPond. Pueden verse ejemplos sencillos sobre el uso de @code{\include} en @rlearning{Scores and parts}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Other sources of information}, @rlearning{Scores and parts}. + @knownissues Si un archivo incluido recibe un nombre igual al de uno de los @@ -1164,8 +1165,8 @@ etiquetadas, porque el primer filtro quita todas las secciones etiquetadas excepto la que se nombra, y el segundo filtro elimina incluso esa sección etiquetada. -@seealso +@seealso Manual de aprendizaje: @rlearning{Organizing pieces with variables}. @@ -1173,11 +1174,13 @@ Referencia de la notación: @ref{Automatic part combining}, @ref{Including LilyPond files}. + @ignore @c This warning is more general than this placement implies. @c Rests are not merged whether or not they come from tagged sections. @c Should be deleted? -td + @knownissues Multiple rests are not merged if you create a score with more diff --git a/Documentation/es/user/introduction.itely b/Documentation/es/user/introduction.itely index f514b9f85f..590586957a 100644 --- a/Documentation/es/user/introduction.itely +++ b/Documentation/es/user/introduction.itely @@ -605,11 +605,12 @@ de voz. De forma semejante, varios Contextos de pauta pueden agruparse en un único Contexto de partitura. El Contexto de partitura es el contexto de notación de más alto nivel. -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{Contexts}. + @lilypond[quote,ragged-right] \include "engraver-example.ily" \score { diff --git a/Documentation/es/user/keyboards.itely b/Documentation/es/user/keyboards.itely index 2297b73c21..964f8ecff8 100644 --- a/Documentation/es/user/keyboards.itely +++ b/Documentation/es/user/keyboards.itely @@ -104,8 +104,8 @@ tweaks}. @end itemize -@seealso +@seealso Manual de aprendizaje: @rlearning{Real music example}, @rlearning{Other uses for tweaks}. @@ -128,6 +128,7 @@ Referencia de funcionamiento interno: Fragmentos de código: @rlsr{Keyboards}. + @knownissues @cindex teclado, matices centrados para música de @@ -199,8 +200,8 @@ barras se miden posteriormente a partir del centro del peentagrama que está más cerca de la barra. Para ver un ejemplo sencillo de trucaje de las barras, consulte @rlearning{Fixing overlapping notation}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Fixing overlapping notation}. @@ -287,8 +288,8 @@ una armadura de tonalidad en el pentagrama inferior: >> @end lilypond -@seealso +@seealso Referencia de la notación: @ref{Changing staff manually}. @@ -298,6 +299,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{AutoChangeMusic}. + @knownissues @cindex acordes, división entre pentagramas con \autochange @@ -357,7 +359,6 @@ automáticamente una línea que conecte las notas: @seealso - Fragmentos de código: @rlsr{Keyboards}. @@ -420,14 +421,15 @@ Se pueden hacer acordes que cruzan los pentagramas: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {indicating-cross-staff-chords-with-arpeggio-bracket.ly} -@seealso +@seealso Fragmentos de código: @rlsr{Keyboards}. Referencia de funcionamiento interno: @rinternals{Stem}. + @node Piano @subsection Piano @@ -517,8 +519,8 @@ movimiento físico del pedal derecho en el transcurso de la ejecución. La pedalización hasta la barra final de compás se indica mediante la omisión de la instrucción final de levantar el pedal. -@seealso +@seealso Referencia de la notación: @ref{Ties}. @@ -538,6 +540,7 @@ Referencia de funcionamiento interno: @rinternals{PianoPedalBracket}, @rinternals{Piano_pedal_engraver}. + @node Accordion @subsection Accordion @@ -571,8 +574,8 @@ ejecución. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {accordion-discant-symbols.ly} -@seealso +@seealso Fragmentos de código: @rlsr{Keyboards}. diff --git a/Documentation/es/user/lilypond-book.itely b/Documentation/es/user/lilypond-book.itely index d1981613ee..9711e379fe 100644 --- a/Documentation/es/user/lilypond-book.itely +++ b/Documentation/es/user/lilypond-book.itely @@ -371,6 +371,7 @@ fragmento: \begin@{lilypond@}...\end@{lilypond@} @end example + @seealso Hay opciones de línea de órdenes específicas de @command{lilypond-book} y otros detalles que conocer para procesar diff --git a/Documentation/es/user/percussion.itely b/Documentation/es/user/percussion.itely index 6c24b95e22..e64af6aa9a 100644 --- a/Documentation/es/user/percussion.itely +++ b/Documentation/es/user/percussion.itely @@ -49,8 +49,8 @@ in MIDI}. @end itemize -@seealso +@seealso Referencia de la notación: @ref{Showing melody rhythms}, @ref{Instantiating new staves}. @@ -102,8 +102,8 @@ Hay ciertos detalles respecto a cómo está contemplado el MIDI para los instrumentos de percusión; para ver los detalles consulte @ref{Percussion in MIDI}. -@seealso +@seealso Referencia de la notación: @ref{Percussion in MIDI}, @ref{Percussion notes}. @@ -150,8 +150,8 @@ de base satisfactoria. } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Percussion}. @@ -164,11 +164,10 @@ xilófono, el vibráfono y los timbales) se escriben usando pentagramas normales. Esto se estudia en otras secciones del manual. @seealso - +@c @c TODO: possibly link to an alternate section of NR 3.5, if @c "percussion in MIDI" gets a separate subsubsection for @c pitched percussion sounds. -gp - Referencia de la notación: @ref{Percussion in MIDI}. @@ -570,8 +569,8 @@ drumsB = { } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Percussion}. @@ -616,7 +615,7 @@ en @ref{Parentheses}. Sin embargo, el modo por defecto Observe, además, que debe añadir acordes (paréntesis en ángulo @code{< >}) alrededor de cada una de las instrucciones @code{\parenthesize}. -@seealso +@seealso Fragmentos de código: @rlsr{Percussion}. diff --git a/Documentation/es/user/pitches.itely b/Documentation/es/user/pitches.itely index bc35d959ad..c1f0e3a8d5 100644 --- a/Documentation/es/user/pitches.itely +++ b/Documentation/es/user/pitches.itely @@ -80,8 +80,8 @@ c, c,, e, g d,, d, d c @end lilypond -@seealso +@seealso Glosario musical: @rglos{Pitch names}. @@ -203,7 +203,6 @@ independientemente del número de semitonos de cada uno de ellos. @seealso - Glosario musical: @rglos{fifth}, @rglos{interval}, @@ -218,6 +217,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{RelativeOctaveMusic}. + @cindex relativo, modo, transposición y @cindex transposición y modo relativo @funindex \transpose @@ -340,8 +340,8 @@ cis @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {makam-example.ly} -@seealso +@seealso Glosario musical: @rglos{sharp}, @rglos{flat}, @@ -367,6 +367,7 @@ Referencia de funcionamiento interno: @rinternals{AccidentalCautionary}, @rinternals{accidental-interface}. + @cindex alteración de cuartos de tono @cindex cuartos de tono, alteraciones @@ -508,8 +509,8 @@ no se ha definido aún ningún nombre especial. @end multitable @end quotation -@seealso +@seealso Glosario musical: @rglos{Pitch names}. @@ -596,13 +597,13 @@ correcto. @seealso - Fragmentos de código: @rlsr{Pitches}. Referencia de funcionamiento interno: @rinternals{RelativeOctaveCheck}. + @node Transpose @unnumberedsubsubsec Transpose @@ -714,7 +715,6 @@ Para ver más información sobre instrumentos transpositores, consulte @seealso - Referencia de la notación: @ref{Instrument transpositions}. @@ -724,6 +724,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{TransposedMusic}. + @funindex \transpose @funindex \chordmode @funindex \relative @@ -854,7 +855,6 @@ c2 c @seealso - Referencia de la notación: @ref{Mensural clefs}, @ref{Gregorian clefs}. @@ -952,8 +952,8 @@ fis @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {non-traditional-key-signatures.ly} -@seealso +@seealso Glosario musical: @rglos{church mode}, @rglos{scordatura}. @@ -1002,8 +1002,8 @@ La función @code{ottava} también admite los valores -1 (para @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {ottava-text.ly} -@seealso +@seealso Glosario musical: @rglos{octavation}. @@ -1016,7 +1016,6 @@ Referencia de funcionamiento interno: @rinternals{ottava-bracket-interface}. - @node Instrument transpositions @unnumberedsubsubsec Instrument transpositions @@ -1097,8 +1096,8 @@ R1 c2 g @end lilypond -@seealso +@seealso Glosario musical: @rglos{concert pitch}, @rglos{transposing instrument}. @@ -2061,7 +2060,6 @@ musicB = { @seealso - Fragmentos de código: @rlsr{Pitches}. @@ -2136,7 +2134,6 @@ tonalidad. @seealso - Glosario musical: @rglos{ambitus}. @@ -2211,8 +2208,8 @@ Existe una abreviatura para las formas en rombo que sólo se puede usar en acord Para ver todos los estilos de cabeza de las notas, consulte @ref{Note head styles}. -@seealso +@seealso Fragmentos de código: @rlsr{Pitches}. @@ -2228,6 +2225,7 @@ Referencia de funcionamiento interno: @rinternals{note-head-interface}, @rinternals{ledger-line-spanner-interface}. + @node Easy notation note heads @unnumberedsubsubsec Easy notation note heads @@ -2272,7 +2270,6 @@ staff size}. @seealso - Referencia de la notación: @ref{Setting the staff size}. @@ -2332,8 +2329,8 @@ tónica está determinada por la instrucción @code{\key} Para ver todos los estilos de formas de cabeza de nota, consulte @ref{Note head styles}. -@seealso +@seealso Fragmentos de código: @rlsr{Pitches}. @@ -2383,7 +2380,6 @@ pero con el ritmo especificado. Estas cabezas de nota se crean así: @seealso - Fragmentos de código: @rlsr{Pitches}. diff --git a/Documentation/es/user/repeats.itely b/Documentation/es/user/repeats.itely index 0e1b3c362a..d6cf40381c 100644 --- a/Documentation/es/user/repeats.itely +++ b/Documentation/es/user/repeats.itely @@ -168,8 +168,8 @@ c1 @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {adding-volta-brackets-to-additional-staves.ly} -@seealso +@seealso Glosario musical: @rglos{repeat}, @rglos{volta}. @@ -187,6 +187,7 @@ Referencia de funcionamiento interno: @rinternals{VoltaRepeatedMusic}, @rinternals{UnfoldedRepeatedMusic}. + @knownissues @cindex repetición ambigua @@ -331,9 +332,8 @@ voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {printing-a-repeat-sign-at-the-beginning-of-a-piece.ly} -@seealso - +@seealso Referencia de la notación: @ref{Bar lines}, @ref{Formatting text}. @@ -393,8 +393,8 @@ c1 c1 @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Repeats}. @@ -402,6 +402,7 @@ Referencia de funcionamiento interno: @rinternals{RepeatedMusic}, @rinternals{UnfoldedRepeatedMusic}. + @node Short repeats @subsection Short repeats @@ -455,8 +456,8 @@ donde @var{expresión_musical} es una expresión musical. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {isolated-percent-repeats.ly} -@seealso +@seealso Glosario musical: @rglos{percent repeat}, @rglos{simile}. @@ -472,6 +473,7 @@ Referencia de funcionamiento interno: @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}. + @knownissues Sólo están contempladas tres clases de repeticiones del tipo @@ -548,14 +550,16 @@ c2:8 c:32 c: c: @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Repeats}. + @cindex trémols de pentagrama cruzado @cindex pentagrama cruzado, trémolo de + @knownissues Los trémolos de pentagrama cruzado no funcionan bien. diff --git a/Documentation/es/user/rhythms.itely b/Documentation/es/user/rhythms.itely index 2a5c08577a..3516195611 100644 --- a/Documentation/es/user/rhythms.itely +++ b/Documentation/es/user/rhythms.itely @@ -134,7 +134,6 @@ and placement}. @seealso - Glosario musical: @rglos{breve}, @rglos{longa}, @@ -242,8 +241,8 @@ grupo especial, véase @ref{Scaling durations}. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {permitting-line-breaks-within-beamed-tuplets.ly} -@seealso +@seealso Glosario musical: @rglos{triplet}, @rglos{tuplet}, @@ -266,6 +265,7 @@ Referencia de funcionamiento interno: @rinternals{TupletNumber}, @rinternals{TimeScaledMusic}. + @knownissues @cindex adorno, notas de, dentro de corchetes de grupo especial @@ -339,8 +339,8 @@ se puede comprimir y expandir la música: Una aplicación de esta instrucción se encuentra en la notación polimétrica, véase @ref{Polymetric notation}. -@seealso +@seealso Referencia de la notación: @ref{Tuplets}, @ref{Invisible rests}, @@ -473,8 +473,8 @@ véase la sección de instrucciones predefinidas. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {engraving-ties-manually.ly} -@seealso +@seealso Glosario musical: @rglos{tie}, @rglos{laissez vibrer}. @@ -491,6 +491,7 @@ Referencia de funcionamiento interno: @rinternals{TieColumn}, @rinternals{Tie}. + @knownissues Un cambio de pentagrama cuando hay una ligadura activa no producirá @@ -574,8 +575,8 @@ a4\rest d4\rest @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {rest-styles.ly} -@seealso +@seealso Referencia de la notación: @ref{Full measure rests}. @@ -585,6 +586,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{Rest}. + @knownissues @c Deliberately duplicated in Durations and Rests. -gp @@ -650,8 +652,8 @@ salida, de ninguna clase. \skip 1 \skip1 \skip 1 @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. @@ -805,7 +807,6 @@ las advertencias correspondientes de comprobación de compás. @seealso - Glosario musical: @rglos{multi-measure rest}. @@ -928,8 +929,8 @@ Las indicaciones de compás de la música mensural se tratan en @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {compound-time-signatures.ly} -@seealso +@seealso Glosario musical: @rglos{time signature} @@ -992,8 +993,8 @@ que se establece a un número negativo por parte de la instrucción @code{-4}, con el significado de @qq{queda un valor de negra en este compás}. -@seealso +@seealso Glosario musical: @rglos{anacrusis}. @@ -1006,6 +1007,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{Timing_translator}. + @knownissues El uso de @code{\partial} está previsto solamente para el comienzo de @@ -1060,7 +1062,6 @@ d4 e d c @seealso - Glosario musical: @rglos{cadenza}. @@ -1070,6 +1071,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Rhythms}. + @knownissues LilyPond inserta saltos de línea y de página solamente en las barras @@ -1195,8 +1197,8 @@ independiente trasladando los grabadores @code{Timing_translator} y @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {compound-time-signatures.ly} -@seealso +@seealso Glosario musical: @rglos{polymetric}, @rglos{polymetric time signature}, @@ -1215,6 +1217,7 @@ Referencia de funcionamiento interno: @rinternals{Default_bar_line_engraver}, @rinternals{Staff}. + @knownissues Al usar distintos compases en paralelo, las notas que están en el @@ -1251,8 +1254,8 @@ inserta ligaduras. Uno de sus usos es depurar partituras complejas: si los compases no están completos, las ligaduras mostrarán exactamente cuánto le falta a cada compás. -@seealso +@seealso Glosario musical: @rglos{tie} @@ -1268,6 +1271,7 @@ Referencia de funcionamiento interno: @rinternals{Completion_heads_engraver}, @rinternals{Forbid_line_break_engraver}. + @knownissues No todas las duraciones (sobre todo las que contienen grupos @@ -1342,8 +1346,8 @@ rasgueado. Esto se puede hacer con el grabador @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {guitar-strum-rhythms.ly} -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. @@ -1351,6 +1355,7 @@ Referencia de funcionamiento interno: @rinternals{RhythmicStaff}, @rinternals{Pitch_squash_engraver}. + @node Beams @subsection Beams @@ -1427,8 +1432,8 @@ c16 c8 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {changing-beam-knee-gap.ly} -@seealso +@seealso Referencia de la notación: @ref{Manual beams}, @ref{Setting automatic beam behavior}. @@ -1753,8 +1758,8 @@ absoluto. Lo mismo sirve para las voces polifónicas, introducidas con @code{<< @dots{} \\ @dots{} >>}. Si una voz polifónica termina mientras una barra automática está aún aceptando notas, no se imprime. -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. @@ -1868,13 +1873,12 @@ La instrucción @code{\featherDurations} sólo funciona con fragmentos musicales muy breves, y cuando los números de la fracción son pequeños. -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. - @node Bars @subsection Bars @@ -2024,8 +2028,8 @@ insertadas automáticamente es @code{"|"}. Se puede cambiar en cualquier momento con @code{\set Timing.defaultBarType = }@var{bartype}. -@seealso +@seealso Referencia de la notación: @ref{Line breaking}, @ref{Repeats}, @@ -2177,14 +2181,15 @@ de partitura @code{Score}. } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. Referencia de funcionamiento interno: @rinternals{BarNumber}. + @knownissues Los números de compás pueden colisionar con el corchete @@ -2281,8 +2286,8 @@ por ejemplo: imprimirá una advertencia si el @code{currentBarNumber} (número del compás actual) no es 123 cuando se procesa. -@seealso +@seealso Fragmentos de código: @rlsr{Rhythms}. @@ -2394,8 +2399,8 @@ pueden imprimir con @code{\musicglyph}. Para ver formas comunes de trucar la colocación de las letras de ensayo, consulte @ref{Text marks}. -@seealso +@seealso Referencia de la notación: @ref{The Feta font}, @ref{Formatting text}. @@ -2591,7 +2596,6 @@ normales de los otros pentagramas: @seealso - Glosario musical: @rglos{grace notes}, @rglos{acciaccatura}, @@ -2606,6 +2610,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{GraceMusic}. + @knownissues Una @i{acciaccatura} de varias notas con una barra se imprime sin @@ -2677,8 +2682,8 @@ MyCadenza = \relative c' { >> @end lilypond -@seealso +@seealso Glosario musical: @rglos{cadenza}. @@ -2757,8 +2762,8 @@ duración de la fracción n/m de una redonda. Por ejemplo, @code{ly:make-moment 1 8} es una duración de una corchea y @code{ly:make-moment 7 16} es la duración de siete semicorcheas. -@seealso +@seealso Referencia de la notación: @ref{Bar numbers}, @ref{Unmetered music}. diff --git a/Documentation/es/user/simultaneous.itely b/Documentation/es/user/simultaneous.itely index 7e724d8c9e..b1039ccc78 100644 --- a/Documentation/es/user/simultaneous.itely +++ b/Documentation/es/user/simultaneous.itely @@ -64,8 +64,8 @@ nota del acorde anterior. Para ver más información sobre los acordes, consulte @ref{Chord notation}. -@seealso +@seealso Glosario musical: @rglos{chord}. @@ -78,6 +78,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Simultaneous notes}. + @node Simultaneous expressions @unnumberedsubsubsec Simultaneous expressions @@ -139,8 +140,8 @@ Se pueden mezclar en el mismo pentagrama notas normales y clusters, incluso al mismo tiempo. En tal caso, no se hace ningún intento de evitar automáticamente las colisiones entre clusters y notas normales. -@seealso +@seealso Glosario musical: @rglos{cluster}. @@ -152,6 +153,7 @@ Referencia de funcionamiento interno: @rinternals{ClusterSpannerBeacon}, @rinternals{Cluster_spanner_engraver}. + @knownissues Los clusters sólo tienen un buen aspecto cuando abarcan un mínimo de @@ -340,7 +342,6 @@ fragmentos de música no tienen las mismas duraciones exactas. @seealso - Manual de aprendizaje: @rlearning{Voices contain music}, @rlearning{Explicitly instantiating voices}. @@ -352,6 +353,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Simultaneous notes}. + @node Voice styles @unnumberedsubsubsec Voice styles @@ -393,8 +395,6 @@ Para recuperar la presentación normal se utiliza la instrucción @seealso - - Manual de aprendizaje: @rlearning{I'm hearing Voices}, @rlearning{Other sources of information}. @@ -403,7 +403,6 @@ Fragmentos de código: @rlsr{Simultaneous notes}. - @node Collision resolution @unnumberedsubsubsec Collision resolution @@ -562,8 +561,8 @@ Sólo se combinan las notas si tienen la plica en direcciones opuestas @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {forcing-horizontal-shift-of-notes.ly} -@seealso +@seealso Glosario musical: @rglos{polyphony}. @@ -580,6 +579,7 @@ Referencia de funcionamiento interno: @rinternals{NoteCollision}, @rinternals{RestCollision}. + @knownissues Cuando se emplea @code{\mergeDifferentlyHeadedOn} con una corchea (o @@ -690,8 +690,8 @@ Una sección @code{\relative} que se encuentra fuera de @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-partcombine-texts.ly} -@seealso +@seealso Glosario musical: @rglos{a due}, @rglos{part}. @@ -706,6 +706,7 @@ Referencia de funcionamiento interno: @rinternals{PartCombineMusic}, @rinternals{Voice}. + @knownissues @code{\partcombine} sólo admite dos voces. @@ -845,8 +846,8 @@ global = { } @end lilypond -@seealso +@seealso Manual de aprendizaje: @rlearning{Organizing pieces with variables} diff --git a/Documentation/es/user/spacing.itely b/Documentation/es/user/spacing.itely index 785e36caa9..a869b01418 100644 --- a/Documentation/es/user/spacing.itely +++ b/Documentation/es/user/spacing.itely @@ -127,7 +127,6 @@ variables. @seealso - Archivos instalados: @file{scm/@/paper@/.scm}. @@ -298,7 +297,6 @@ papel. @seealso - Referencia de la notación: @ref{Vertical spacing between systems}. @@ -364,7 +362,6 @@ primero. Predeterminado: @code{0}, como se determina en @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -554,7 +551,6 @@ Predeterminado: sin establecer. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -685,7 +681,6 @@ pentagrama individuales están en relación al tamaño global. @seealso - Referencia de la notación: @ref{Selecting notation font size}. @@ -723,7 +718,6 @@ disposición específica de cada partitura. @seealso - Referencia de la notación: @ref{Changing context default settings}. @@ -827,7 +821,6 @@ novedosa y difícil. Hay más detalles disponibles en @rlsr{Spacing}. @seealso - Referencia de funcionamiento interno: @rinternals{LineBreakEvent}. @@ -957,7 +950,6 @@ partes del libro. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -976,7 +968,6 @@ página. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1068,7 +1059,6 @@ de marcado del nivel superior. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1099,7 +1089,6 @@ de memoria, o con una gran cantidad de textos. Se habilita utilizando: @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1150,7 +1139,6 @@ las instrucciones @code{\pageBreak} explícitas y en ningún otro lugar. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1238,7 +1226,6 @@ propiedades de @code{NonMusicalPaperColumnGrob}, como se explica en @seealso - Referencia de la notación: @ref{Vertical spacing}. @@ -1374,7 +1361,6 @@ las dimensiones verticales están descritas en conexión con el grabador @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1442,7 +1428,6 @@ sería el mismo que en una página sin justificar por abajo, como la @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1684,7 +1669,6 @@ unos valores razonables. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1750,7 +1734,6 @@ lilypond .ly @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1836,7 +1819,6 @@ c''2 @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1948,7 +1930,6 @@ notation}. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -1997,7 +1978,6 @@ instrucciones de sobreescritura @code{\override} en dicho punto. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -2083,7 +2063,6 @@ sin tener en cuenta las claves, líneas divisorias ni notas de adorno: @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -2141,7 +2120,6 @@ ocupa su longitud horizontal natural. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -2507,8 +2485,8 @@ puntos de comienzo como de final, y permiten que los elementos de extensión se dividan entre los sistemas y las páginas. Consulte las partes respectivas del manual para ver estos ajustes relacionados. -@seealso +@seealso Referencia de la notación: @ref{New spacing area}. @@ -2567,7 +2545,6 @@ del intervalo. @seealso - Fragmentos de código: @rlsr{Spacing}. @@ -2677,7 +2654,6 @@ completa. @seealso - Referencia de la notación: @ref{Page formatting}, @ref{Changing horizontal spacing}. diff --git a/Documentation/es/user/staff.itely b/Documentation/es/user/staff.itely index bb45dee8ed..70e4c7bb90 100644 --- a/Documentation/es/user/staff.itely +++ b/Documentation/es/user/staff.itely @@ -107,7 +107,6 @@ detalles, consulte @ref{Defining new contexts}. @seealso - Glosario musical: @rglos{staff}, @rglos{staves}. @@ -246,7 +245,6 @@ más detalles, consulte @ref{Defining new contexts}. @seealso - Glosario musical: @rglos{brace}, @rglos{bracket}, @@ -311,7 +309,6 @@ Para ver más detalles, consulte @ref{Defining new contexts}. @seealso - Referencia de la notación: @ref{Grouping staves}, @ref{Instrument names}, @@ -457,8 +454,8 @@ e4 d c2 @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {making-some-staff-lines-thicker-than-the-others.ly} -@seealso +@seealso Glosario musical: @rglos{line}, @rglos{ledger line}, @@ -474,6 +471,7 @@ Referencia de funcionamiento interno: @rinternals{StaffSymbol}, @rinternals{staff-symbol-interface}. + @knownissues Al establecer manualmente las posiciones de las líneas de la pauta, @@ -623,8 +621,8 @@ información sobre @code{\RemoveEmptyStaffContext}, consulte @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {vertically-aligning-ossias-and-lyrics.ly} -@seealso +@seealso Glosario musical: @rglos{ossia}, @rglos{staff}, @@ -732,8 +730,8 @@ de forma similar, se puede usar @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {removing-the-first-empty-line.ly} -@seealso +@seealso Glosario musical: @rglos{Frenched staff}. @@ -752,6 +750,7 @@ Referencia de funcionamiento interno: @rinternals{VerticalAxisGroup}, @rinternals{Staff_symbol_engraver}. + @knownissues La eliminación del grabador @code{Staff_symbol_engraver} también @@ -846,8 +845,8 @@ d4 g e c Para ver más detalles, consulte @ref{Formatting text}. -@seealso +@seealso Glosario musical: @rglos{metronome}, @rglos{metronomic indication}, @@ -1009,7 +1008,6 @@ musical para declarar el cambio de instrumento: @seealso - Referencia de la notación: @ref{Horizontal dimensions}, @ref{Modifying context plug-ins}. @@ -1119,7 +1117,6 @@ procedimiento, consulte @ref{Using tags}. @seealso - Referencia de la notación: @ref{Instrument transpositions}, @ref{Using tags}. @@ -1275,8 +1272,8 @@ Es posible etiquetar las partes guía con numbres exclusivos de forma que se puedan procesar de diversas formas. Para ver más detalles sobre este procedimiento, consulte @ref{Using tags}. -@seealso +@seealso Referencia de la notación: @ref{Instrument transpositions}, @ref{Instrument names}, diff --git a/Documentation/es/user/text.itely b/Documentation/es/user/text.itely index a797510f98..4d2b704e45 100644 --- a/Documentation/es/user/text.itely +++ b/Documentation/es/user/text.itely @@ -97,7 +97,6 @@ a4_"scherzando" f @seealso - Referencia de la notación: @ref{Formatting text}, @ref{Direction and placement}. @@ -108,6 +107,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{TextScript}. + @knownissues La comprobación necesaria para asegurar que las inscripciones de texto @@ -167,7 +167,6 @@ styles}. @seealso - Referencia de la notación: @ref{Line styles}, @ref{Dynamics}. @@ -249,8 +248,8 @@ c c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {printing-marks-on-every-staff.ly} -@seealso +@seealso Referencia de la notación: @ref{Rehearsal marks}, @ref{Formatting text}, @@ -263,6 +262,7 @@ Fragmentos de código: Referencia de funcionamiento interno: @rinternals{RehearsalMark}. + @knownissues @c To be removed when Issue 69 in the tracker gets fixed. -vv @@ -324,8 +324,8 @@ requiere se describen en @ref{Multi-page markup}. TODO: add convenient snippets in input/new -vv @end ignore -@seealso +@seealso Referencia de la notación: @ref{Formatting text}, @ref{File structure}, @@ -442,7 +442,6 @@ específicas de @code{\markup} en @ref{Text markup commands}. @seealso - Referencia de la notación: @ref{Text markup commands}. @@ -620,7 +619,6 @@ como se explica en @ref{Fonts}. @seealso - Referencia de la notación: @ref{Font}, @ref{New dynamic marks}, @@ -843,8 +841,8 @@ la izquierda o justificados, como se muestra en el ejemplo siguiente. Hay una lista exhaustiva de instrucciones de alineación de texto en @ref{Align}. -@seealso +@seealso Manual de aprendizaje: @rlearning{Moving objects}. @@ -1002,8 +1000,8 @@ c Hay una lista exhaustiva de instrucciones específicas de gráficos en @ref{Graphic}. -@seealso +@seealso Referencia de la notación: @ref{Graphic}, @ref{Editorial annotations}. @@ -1130,8 +1128,8 @@ c d e f Hay una lista exhaustiva de instrucciones relacionadas con la notación musical en @ref{Music}. -@seealso +@seealso Referencia de la notación: @ref{Music}, @ref{The Feta font}, @@ -1184,8 +1182,8 @@ o una lista de listas de marcado. Hay una lista exhaustiva de las instrucciones de lista de marcado en @ref{Text markup list commands}. -@seealso +@seealso Referencia de la notación: @ref{Text markup list commands}, @ref{New markup list command definition}. @@ -1310,8 +1308,8 @@ property. The resulting size is taken relative to the @code{text-font-size} as defined in the @code{\paper} block. @end ignore -@seealso +@seealso Referencia de la notación: @ref{The Feta font}, @ref{Music notation inside markup}, @@ -1350,8 +1348,8 @@ lilypond -dshow-available-fonts x El último argumento de la instrucción puede ser cualquiera, pero debe estar presente. -@seealso +@seealso Referencia de la notación: @ref{Fonts explained}, @ref{Entire document fonts}. @@ -1362,6 +1360,7 @@ Fragmentos de código: Archivos de inicio: @file{lily/@/font@/-config@/-scheme@/.cc}. + @node Entire document fonts @unnumberedsubsubsec Entire document fonts @@ -1395,8 +1394,8 @@ respectivamente como tipografías @emph{romana}, @emph{sans-serif} y @c we don't do Helvetica / Courier, since GS incorrectly loads @c Apple TTF fonts -@seealso +@seealso Referencia de la notación: @ref{Fonts explained}, @ref{Single entry fonts}, diff --git a/Documentation/es/user/tutorial.itely b/Documentation/es/user/tutorial.itely index 937d99823e..a35c2a228e 100644 --- a/Documentation/es/user/tutorial.itely +++ b/Documentation/es/user/tutorial.itely @@ -675,9 +675,8 @@ para sus experimentos. Para poder ver exactamente el mismo resultado (con igual anchura de línea y todo), copie todo lo que está desde @qq{Start cut-&-pastable section} hasta el final del archivo. -@seealso - +@seealso Podrá encontrar más consejos y trucos para la construcción de archivos de entrada en @ref{Suggestions for writing LilyPond files}; pero quizá sea mejor leer primero el resto del tutorial. @@ -832,8 +831,8 @@ imprimir siguiendo varias convenciones distintas. Consulte @ruser{Automatic accidentals} para ver ejemplos de cómo se pueden imprimir las alteraciones de acuerdo a reglas diferentes. -@seealso +@seealso Referencia de la notación: @ruser{Note names in other languages}, @ruser{Accidentals}, @@ -920,8 +919,8 @@ se pueden anidar unas dentro de otras. c2~( c8 fis fis4 ~ fis2 g2) @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Ties}, @ruser{Slurs}, @@ -1015,8 +1014,8 @@ puede usar la instrucción @code{\!}: c2\< c2\ff\> c2 c2\! @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Articulations and ornamentations}, @ruser{Fingering instructions}, @@ -1050,7 +1049,6 @@ a1_\markup{ @seealso - Referencia de la notación: @ruser{Writing text}. @@ -1102,8 +1100,8 @@ a8 c b4 d8. c16 b4 a8 c b4 d8. c16 b4 @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Automatic beams}, @ruser{Manual beams}. @@ -1186,8 +1184,8 @@ c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Grace notes}, @ruser{Tuplets}, @@ -1461,8 +1459,8 @@ Cada uno de estos grupos de pautas forma un tipo de contexto distinto, que produce la llave a la izquierda y que también controla el alcance de las líneas divisorias. -@seealso +@seealso Referencia de la notación: @ruser{Keyboard and other multi-staff instruments}, @ruser{Displaying staves}. @@ -1569,8 +1567,8 @@ Una vez más, las expresiones de este tipo se pueden anidar de forma arbitraria. >> @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{Simultaneous notes}. @@ -1805,12 +1803,10 @@ el aria de Fígaro @notation{Largo al factotum}: @seealso - Referencia de la notación: @ruser{Vocal music}. - @node Lyrics to multiple staves @subsection Lyrics to multiple staves @@ -1850,11 +1846,12 @@ ejemplo se hace mejor separando la letra de la estructura de pentagramas mediante variables (expresiones con nombre). Éstas se tratan en @ref{Organizing pieces with variables}. -@seealso +@seealso Referencia de la notación: @ruser{Vocal music}. + @node Final touches @section Final touches diff --git a/Documentation/es/user/tweaks.itely b/Documentation/es/user/tweaks.itely index c875cf6cc9..16b7c3b171 100644 --- a/Documentation/es/user/tweaks.itely +++ b/Documentation/es/user/tweaks.itely @@ -455,8 +455,8 @@ se puede modificar de la forma usual mediante instrucciones } @end lilypond -@seealso +@seealso Referencia de la notación: @ruser{The tweak command}. @@ -913,11 +913,12 @@ final y la llave de cierre.} escriba siempre espacios antes y después del punto que separa el nombre del contexto y el nombre del objeto.} -@seealso +@seealso Manual de aprendizaje: @ref{Scheme tutorial}. + @node Types of properties @subsection Types of properties @@ -979,11 +980,12 @@ en la instrucción @code{\override}. @tab @code{'#(#t #t #f)} @end multitable -@seealso +@seealso Manual de aprendizaje: @ref{Scheme tutorial}. + @node Appearance of objects @section Appearance of objects diff --git a/Documentation/es/user/unfretted-strings.itely b/Documentation/es/user/unfretted-strings.itely index 14ad7907d8..cdb6e9b573 100644 --- a/Documentation/es/user/unfretted-strings.itely +++ b/Documentation/es/user/unfretted-strings.itely @@ -69,8 +69,8 @@ quartet}. Otras se muestran en la sección de fragmentos de código. @end itemize -@seealso +@seealso Manual de aprendizaje: @rlearning{String quartet}. @@ -83,6 +83,7 @@ Referencia de la notación: Fragmentos de código: @rlsr{Unfretted strings}. + @node Bowing indications @unnumberedsubsubsec Bowing indications @@ -128,11 +129,11 @@ a2^\markup { \small "sul A" } @seealso - Referencia de la notación: @ref{Articulations and ornamentations}, @ref{Slurs}. + @node Harmonics @unnumberedsubsubsec Harmonics @@ -187,6 +188,7 @@ se roza la cuerda (sin pisar) para producir el armónico. 2 @end lilypond + @seealso Glosario musical: @rglos{harmonics}. @@ -195,6 +197,7 @@ Referencia de la notación: @ref{Special note heads}, @ref{References for unfretted strings}. + @node Snap (Bartok) pizzicato @unnumberedsubsubsec Snap (Bartók) pizzicato diff --git a/Documentation/es/user/vocal.itely b/Documentation/es/user/vocal.itely index df77b299b2..1e00035020 100644 --- a/Documentation/es/user/vocal.itely +++ b/Documentation/es/user/vocal.itely @@ -103,6 +103,7 @@ Continuaará... @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {simple-lead-sheet.ly} + @seealso Referencia de la notación: @ref{Chord notation}. @@ -144,8 +145,8 @@ Continuará... @c Add "Printing both the ancient and the modern clef in vocal music" snippet, @c and "Transcription of Ancient music with incipit" snippet. -vv -@seealso +@seealso Referencia de la notación: @ref{Ancient notation}. @@ -303,7 +304,6 @@ verseOne = \lyricmode @{ Joy to the world the Lord is come @} @seealso - Referencia de funcionamiento interno: @rinternals{LyricText}, @rinternals{LyricSpace}. @@ -398,12 +398,13 @@ El código de entrada definitivo sería algo como >> @end example -@seealso +@seealso @c TODO: document \new Staff << Voice \lyricsto >> bug Referencia de funcionamiento interno: @rinternals{LyricCombineMusic}, @rinternals{Lyrics}. + @node Aligning lyrics to a melody @subsection Aligning lyrics to a melody @@ -538,8 +539,8 @@ duraciones manuales de las sílabas del texto: } >> @end lilypond -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{Lyrics}. @@ -566,8 +567,8 @@ DejaVuLGC) que incluya este glifo.}. \addlyrics { pu- ro~y~ho- nes- to } @end lilypond -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{LyricCombineMusic}. @c Here come the section which used to be "Melismata" @@ -649,10 +650,10 @@ sección @rlearning{Vocal ensembles}. @seealso - @comment Referencia de funcionamiento interno: @comment @rinternals{Melisma_translator}. + @knownissues Los melismas no se detectan automáticamente, y las líneas de extensión @@ -704,8 +705,8 @@ guiones. Se puede controlar si esto ocurre o no, mediante la @code{minimum-length} (umbral por debajo del cual se suprimen los guiones). -@seealso +@seealso Referencia de funcionamiento interno: @rinternals{LyricExtender}, @rinternals{LyricHyphen} @@ -1200,7 +1201,6 @@ text = \lyricmode { @seealso - Referencia de funcionamiento interno: @rinternals{LyricText}, @rinternals{StanzaNumber}. diff --git a/Documentation/es/user/wind.itely b/Documentation/es/user/wind.itely index 0dc03fb274..292daa1331 100644 --- a/Documentation/es/user/wind.itely +++ b/Documentation/es/user/wind.itely @@ -68,8 +68,8 @@ aplicación a los instrumentos de viento: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing--flageolet-mark-size.ly} -@seealso +@seealso Referencia de la notación: @ref{Breath marks}, @ref{Slurs}, @@ -158,10 +158,12 @@ Se puede indicar esto mediante @code{cflat} o @code{fflat}. De forma parecida, e sol agudo piobaireachd se puede escribir @code{gflat} cuando aparece en música ligera. + @seealso Fragmentos de código: @rlsr{Winds}. + @node Bagpipe example @unnumberedsubsubsec Bagpipe example @@ -208,6 +210,7 @@ gaita. } @end lilypond + @seealso Fragmentos de código: @rlsr{Winds}. diff --git a/Documentation/es/user/world.itely b/Documentation/es/user/world.itely index 036bff7acb..6cd6bf2ea2 100644 --- a/Documentation/es/user/world.itely +++ b/Documentation/es/user/world.itely @@ -82,8 +82,8 @@ aparece en @ref{Unmetered music}. @end itemize -@seealso +@seealso Referencia de la notación: @ref{Note names in other languages}, @ref{Key signature}, @@ -140,7 +140,6 @@ alterar mediante este método. @seealso - Referencia de la notación: @ref{Note names in other languages}. @@ -251,8 +250,8 @@ los maqams más comunes a armaduras de tonalidad: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {non-traditional-key-signatures.ly} -@seealso +@seealso Referencia de la notación: @ref{Key signature}. @@ -293,8 +292,8 @@ y/o utilizar compases compuestos. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {arabic-improvisation.ly} -@seealso +@seealso Referencia de la notación: @ref{Manual beams}, @ref{Automatic beams}, @@ -341,13 +340,12 @@ esta sección. } @end lilypond -@seealso +@seealso Fragmentos de código: @rlsr{World music} - @node Further reading @unnumberedsubsubsec Further reading diff --git a/Documentation/fr/user/ancient.itely b/Documentation/fr/user/ancient.itely index 867966927c..d461565dfd 100644 --- a/Documentation/fr/user/ancient.itely +++ b/Documentation/fr/user/ancient.itely @@ -170,8 +170,8 @@ c'est le @rinternals{Mensural_ligature_engraver} qui se chargera des ligatures mensurales. Consultez la section @ref{Ligatures} pour savoir comment fonctionnent les graveurs de ligature. -@seealso +@seealso Pour un aperçu de toutes les possibilités, consultez @ref{Note head styles}. @@ -234,8 +234,8 @@ altération indisponible dans le style utilisé. par la propriété @code{glyph-name-alist} de l'objet @rinternals{KeySignature}. -@seealso +@seealso Dans ce manuel : @ref{Pitches}, @ref{Accidentals}, et @ref{Automatic accidentals}, pour les principes généraux d'utilisation des altérations ; @ref{Key signature} pour les armures. @@ -276,8 +276,8 @@ défaut. Voici une liste des styles de silences disponibles. Les silences sont absents de la notation grégorienne ; par contre, cette notation utilise des @ref{Divisiones}. -@seealso +@seealso Dans ce manuel : les principes généraux sur l'utilisation des silences sont exposés dans @ref{Rests}. @@ -512,10 +512,11 @@ Editio XXX.} Les clés d'ut de Petrucci avaient une hampe gauche différente selon leur ligne de rattachement. -@seealso +@seealso Dans ce manuel : voir @ref{Clef}. + @knownissues La clé de sol mensurale est calquée sur celle de Petrucci. @@ -652,11 +653,12 @@ Voici les différences entre les styles : } @end lilypond -@seealso +@seealso Dans ce manuel : @ref{Time signature} expose les principes généraux sur l'utilisation des indications de métrique. + @knownissues Les équivalences de durées de note ne sont pas modifiées par un @@ -800,8 +802,8 @@ styles disponibles sont @code{vaticana}, @code{medicaea}, } @end lilypond -@seealso +@seealso Référence du programme : @rinternals{Custos}. Exemples : @rlsr{Ancient notation}. @@ -851,7 +853,6 @@ pourquoi @file{gregorian@/-init@/.ly} définit aussi @code{\virgula} et @seealso - Dans ce manuel : @ref{Breath marks}. Référence du programme : @rinternals{BreathingSign}. diff --git a/Documentation/fr/user/changing-defaults.itely b/Documentation/fr/user/changing-defaults.itely index 4cdad0a3d9..523593d5fb 100644 --- a/Documentation/fr/user/changing-defaults.itely +++ b/Documentation/fr/user/changing-defaults.itely @@ -435,7 +435,6 @@ Ainsi, par exemple : @seealso - Référence du programme : @rinternals{OverrideProperty}, @rinternals{RevertProperty}, @rinternals{PropertySet}, @rinternals{Backend}, et @rinternals{All layout objects}. @@ -809,13 +808,10 @@ f Sur la page de la documentation relative aux doigtés, c'est-à-dire @ref{Fingering instructions}, se trouve l'indication suivante : -@quotation -@seealso +@seealso Référence du programme : @rinternals{Fingering}. -@end quotation - @c outdated info; probably will delete. @ignore diff --git a/Documentation/fr/user/chords.itely b/Documentation/fr/user/chords.itely index 75936facff..c7025edf56 100644 --- a/Documentation/fr/user/chords.itely +++ b/Documentation/fr/user/chords.itely @@ -398,12 +398,12 @@ Banter. Pour la mise en œuvre de ces modèles, voir @ref{Chord name chart}. @seealso - Exemples : @rlsr{Chords}. Fichiers internes : @file{scm/@/chords@/-ignatzek@/.scm}, et @file{scm/@/chord@/-entry@/.scm}. + @knownissues Les chiffrages d'accords ne sont déterminés que par la succession des @@ -626,14 +626,15 @@ impossible lorsque plusieurs chiffrages qui se chevauchent en possèdent. Ce problème peut être contourné en jouant sur l'empilement, avec la propriété @code{stacking-dir} de l'objet @code{BassFigureAlignment}. -@seealso +@seealso Référence du programme : les objets @rinternals{BassFigure}, @rinternals{BassFigureAlignment}, @rinternals{BassFigureLine}, @rinternals{BassFigureBracket} et @rinternals{BassFigureContinuation}, ainsi que le contexte @rinternals{FiguredBass}. + @node Entering figured bass @unnumberedsubsubsec Entering figured bass diff --git a/Documentation/fr/user/editorial.itely b/Documentation/fr/user/editorial.itely index cf60cf2184..bdf9bd5f46 100644 --- a/Documentation/fr/user/editorial.itely +++ b/Documentation/fr/user/editorial.itely @@ -155,7 +155,6 @@ d'indiquer des doigtés très proches des têtes de notes. @seealso - Référence du programme : @rinternals{Fingering}. Exemples : @rlsr{Editorial annotations}. @@ -246,7 +245,6 @@ L'exemple suivant illustre l'utilisation de la fonction @seealso - Annexes : @ref{List of colors}. @@ -358,8 +356,8 @@ et le texte de la bulle. @cindex bulles @cindex notation, expliquer -@seealso +@seealso Référence du programme : @rinternals{balloon-interface}. @@ -434,8 +432,8 @@ contexte @rinternals{Staff} comporte le graveur }}} @end lilypond -@seealso +@seealso Référence du programme : @rinternals{HorizontalBracket}. diff --git a/Documentation/fr/user/expressive.itely b/Documentation/fr/user/expressive.itely index 7c435f8575..c5ed82798a 100644 --- a/Documentation/fr/user/expressive.itely +++ b/Documentation/fr/user/expressive.itely @@ -121,7 +121,6 @@ a4^\prall^\markup { \sharp } @seealso - Référence du programme : @rinternals{Script}. @@ -300,7 +299,6 @@ leur étendue. On peut empêcher l'impression de ces pointillés avec : @seealso - Référence du programme : @rinternals{DynamicText}, @rinternals{Hairpin}. Le placement vertical de ces éléments graphiques est géré par le @@ -421,7 +419,6 @@ lier des accords. Dans LilyPond, il faut pour cela assigner @seealso - Référence du programme : @rinternals{Slur}. @@ -460,7 +457,6 @@ Il n'est pas possible d'avoir plusieurs liaisons de phrasé en même temps. @seealso - Référence du programme : @rinternals{PhrasingSlur}. @@ -488,8 +484,8 @@ c'4 d4 @end lilypond -@seealso +@seealso Référence du programme : @rinternals{BreathingSign}. Exemples : @rlsr{Winds}. @@ -548,7 +544,6 @@ I = \once \override NoteColumn #'ignore-collision = ##t @seealso - Référence du programme : @rinternals{Glissando}. Exemples : @rlsr{Expressive marks}. @@ -628,7 +623,6 @@ exemple dans le contexte @rinternals{PianoStaff} : @seealso - Dans ce même manuel : @ref{Ties}, pour noter explicitement des arpèges. Référence du programme : @rinternals{Arpeggio}. @@ -682,7 +676,6 @@ sera imprimée comme une tête de note noire entre parenthèses. @seealso - Référence du programme : @rinternals{TrillSpanner}. diff --git a/Documentation/fr/user/fretted-strings.itely b/Documentation/fr/user/fretted-strings.itely index 59fe516644..8d56c7f849 100644 --- a/Documentation/fr/user/fretted-strings.itely +++ b/Documentation/fr/user/fretted-strings.itely @@ -55,12 +55,13 @@ On peut ajouter aux accords les numéros de cordes, en les indiquant avec @end lilypond -@seealso +@seealso Référence du programme : @rinternals{StringNumber}. Exemples : @rlsr{Fretted strings}. + @node Default tablatures @unnumberedsubsubsec Default tablatures @@ -125,10 +126,11 @@ comme suit : \override Beam #'damping = #100000 @end example -@seealso +@seealso Référence du programme : @rinternals{TabStaff}, @rinternals{TabVoice}. + @knownissues Les accords ne subsissent ausun traitement particulier ; de ce fait, la @@ -188,13 +190,14 @@ c'est-à-dire le célèbre mi la ré sol si mi. D'autres jeux prédéfinis sont @code{guitar-open-g-tuning}, @code{mandolin-tuning} et @code{banjo-open-g-tuning}. -@seealso +@seealso Vous trouverez une liste complète des jeux prédéfinis dans le fichier @file{scm/@/output@/-lib@/.scm}. Référence du programme : @rinternals{Tab_note_heads_engraver}. + @knownissues Aucun effet spécial de guitare n'a été implémenté à ce jour. @@ -243,10 +246,11 @@ Par ailleurs, plusieurs propriétés permettent d'ajuster le graphisme à votre convenance. Vous en trouverez les détails dans @rinternals{fret-diagram-interface}. -@seealso +@seealso Exemples : @rlsr{Fretted strings}. + @node Right-hand fingerings @unnumberedsubsubsec Right-hand fingerings @@ -297,10 +301,11 @@ chaîne de caractères comme argument de @code{\rightHandFinger}. } @end lilypond -@seealso +@seealso Référence du programme : @rinternals{StrokeFinger} + @node Guitar @subsection Guitar @@ -361,10 +366,11 @@ chaîne de caractères comme argument de @code{\rightHandFinger}. } @end lilypond -@seealso +@seealso Référence du programme : @rinternals{StrokeFinger} + @node Indicating harmonics and dampened notes @unnumberedsubsubsec Indicating harmonics and dampened notes @@ -414,7 +420,7 @@ cordes, si l'on utilise la fonction @code{four-string-banjo} : \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) @end example -@seealso +@seealso Vous trouverez une liste complète des jeux de cordes prédéfinis pour le banjo dans le fichier @file{scm/@/output@/-lib@/.scm}. diff --git a/Documentation/fr/user/fundamental.itely b/Documentation/fr/user/fundamental.itely index a4f55fa8c4..6bd9e25386 100644 --- a/Documentation/fr/user/fundamental.itely +++ b/Documentation/fr/user/fundamental.itely @@ -240,8 +240,8 @@ chiffre, ni ponctuation, ni caractère accentué, ni espace.} ; ce peut être @code{laTeteAToto}, tant qu'il ne s'agit pas de @qq{mot réservé}. Pour plus de détails, voir @ref{Saving typing with variables and functions}. -@seealso +@seealso Pour une description complète du format des fichiers d'entrée, voir @ruser{File structure}. @@ -395,8 +395,8 @@ une indentation stricte et propre est vraiment d'une aide précieuse : assurez-vous que chaque élément d'un même niveau a le même décalage horizontal dans votre éditeur de texte ! -@seealso +@seealso Manuel de notation : @ruser{Structure of a score}. @@ -904,8 +904,8 @@ pas encore tout à fait prêts pour voir comment corriger cela, aussi nous examinerons ce problème dans un autre chapitre (voir la propriété force-hshift dans @ref{Fixing overlapping notation}). -@seealso +@seealso Manuel de notation : @ruser{Multiple voices}. @@ -1142,8 +1142,8 @@ même moment et qu'aucun décalage n'a été spécifié ou qu'ils sont identiques, LilyPond vous le signalera par le message @qq{Trop d'empilements en conflit}. -@seealso +@seealso Manuel de notation : @ruser{Multiple voices}. @@ -1486,8 +1486,8 @@ refrainwordsB = \lyricmode { } @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Vocal music}. @@ -1575,8 +1575,8 @@ Le nom de chacun des contextes est formé d'un ou plusieurs mots aux initiales en majuscule et directements accolés les uns aux autres sans ponctuation, comme par exemple @code{GregorianTranscriptionStaff}. -@seealso +@seealso Manuel de notation : @ruser{Contexts explained}. @@ -1762,8 +1762,8 @@ partir du nom, et vice versa. Nous verrons plus avant comment le résultat de LilyPond peut changer lorsqu'on modifie l'action des graveurs. -@seealso +@seealso Références internes : @rinternals{Engravers and Performers}. @@ -2046,14 +2046,15 @@ Les propriétés de contextes ainsi définies peuvent être adaptées pour chacun des contextes en particulier grace à un bloc @code{\with} ou bien une commande @code{\set} au fil des notes. -@seealso +@seealso Manuel de notation : @ruser{Changing context default settings}, @ruser{The set command}. Références internes : @rinternals{Contexts}, @rinternals{Tunable context properties}. + @node Adding and removing engravers @subsection Adding and removing engravers @@ -2193,8 +2194,8 @@ Vous réglerez de la même manière les propriétés de tous les contextes d'un type particulier si vous insérez les commandes @code{\set} dans un bloc @code{\context}. -@seealso +@seealso Manuel de notation : @ruser{Modifying context plug-ins}, @ruser{Changing context default settings}. @@ -2401,8 +2402,8 @@ celloMusic = \relative c { } @end lilypond -@seealso +@seealso Les patrons originaux sont disponibles à l'annexe @qq{Modèles}, voir @ref{Single staff}. diff --git a/Documentation/fr/user/input.itely b/Documentation/fr/user/input.itely index 4fc489724b..43eca6d5e2 100644 --- a/Documentation/fr/user/input.itely +++ b/Documentation/fr/user/input.itely @@ -198,16 +198,16 @@ Vous pouvez utiliser de multiples balises dans un morceau en saisissant plusieurs @code{\tag}. @example - \tag #'original-part \tag #'transposed-part @dots{} +\tag #'original-part \tag #'transposed-part @dots{} @end example @ignore FIXME @seealso - Exemples : @lsr{parts,tag@/-filter@/.ly} @end ignore + @knownissues Lorsqu'elles comportent des silences, ceux-ci ne seront pas fusionnés diff --git a/Documentation/fr/user/introduction.itely b/Documentation/fr/user/introduction.itely index 10fbeedac4..00eb1f1bfd 100644 --- a/Documentation/fr/user/introduction.itely +++ b/Documentation/fr/user/introduction.itely @@ -612,10 +612,11 @@ plusieurs contextes de Portée peuvent être inclus dans un seul contexte de Partition. Le contexte de Partition est le contexte de notation de plus haut niveau. -@seealso +@seealso Référence du programme: @rinternals{Contexts}. + @lilypond[quote,ragged-right] \include "engraver-example.ily" \score { diff --git a/Documentation/fr/user/keyboards.itely b/Documentation/fr/user/keyboards.itely index 5bad9d4949..d43a78b775 100644 --- a/Documentation/fr/user/keyboards.itely +++ b/Documentation/fr/user/keyboards.itely @@ -140,13 +140,11 @@ place les silences en fonction des notes qui les suivront. Ainsi : @seealso - Dans ce même manuel : @ref{Changing staff manually}. Référence du programme : @rinternals{AutoChangeMusic}. - @knownissues Les changements de portée automatiques n'interviennent pas toujours à @@ -182,8 +180,8 @@ automatiquement une ligne reliant les notes, en attribuant à la variable >> @end lilypond -@seealso +@seealso Référence du programme : @rinternals{VoiceFollower}. @@ -297,8 +295,8 @@ jusqu'à l'extrémité droite de la dernière note : c\sostenutoOn d e c, f g a\sostenutoOff @end lilypond -@seealso +@seealso Dans ce manuel : @ref{Ties} @qq{laissez vibrer}. diff --git a/Documentation/fr/user/percussion.itely b/Documentation/fr/user/percussion.itely index b6a3bae7a5..24a858accb 100644 --- a/Documentation/fr/user/percussion.itely +++ b/Documentation/fr/user/percussion.itely @@ -65,12 +65,11 @@ Ces noms sont inventoriés dans le fichier d'initialisation @file{ly/@/drumpitch@/-init@/.ly}. @c TODO: properly document this. -@seealso +@seealso Référence du Programme : @rinternals{note-event}. - @node Percussion staves @unnumberedsubsubsec Percussion staves @@ -280,11 +279,11 @@ down = \drummode { bd4 sn bd toml8 toml } @seealso - Fichier d'initialisation : @file{ly/@/drumpitch@/-init@/.ly}. Référence du programme : @rinternals{DrumStaff}, @rinternals{DrumVoice}. + @knownissues La bibliothèque MIDI générale ne contient pas les @emph{rimshots} --- coups diff --git a/Documentation/fr/user/pitches.itely b/Documentation/fr/user/pitches.itely index a06374f8db..32b45cc19d 100644 --- a/Documentation/fr/user/pitches.itely +++ b/Documentation/fr/user/pitches.itely @@ -260,7 +260,6 @@ cis cis cis! cis? c c? c! c @seealso - Référence du programme : @rinternals{LedgerLineSpanner}, @rinternals{NoteHead}. @@ -479,7 +478,6 @@ réelles, on utilisera un deuxième @code{transpose} @seealso - Référence du programme : @rinternals{TransposedMusic}. Exemples : @rlsr{Pitches}. @@ -582,7 +580,6 @@ apparaître des possibilités de réglage manuel de ces propriétés. @seealso - Dans ce manuel : @ref{Grace notes}. Référence du programme : @rinternals{Clef}. @@ -658,7 +655,6 @@ a bes c d @seealso - Référence du programme : @rinternals{KeyCancellation}, @rinternals{KeySignature}. @@ -702,7 +698,6 @@ d'octaviation en définissant @code{ottavation} après avoir fait appel @seealso - Référence du programme : @rinternals{OttavaBracket}. @@ -1107,7 +1102,6 @@ musicB = { \clef bass \new Voice { \voiceTwo \relative { < fis, a cis>4 @seealso - Référence du programme : @rinternals{Accidental_engraver}, @rinternals{Accidental}, @rinternals{AccidentalSuggestion} et @rinternals{AccidentalPlacement}. @@ -1203,14 +1197,15 @@ Ce réglage déplace l'ambitus vers la gauche. Le même résultat aurait pu forme n'aurait pas attribué d'espace supplémentaire pour l'objet déplacé. -@seealso +@seealso Référence du programme : @rinternals{Ambitus}, @rinternals{AmbitusLine}, @rinternals{AmbitusNoteHead}, @rinternals{AmbitusAccidental}. Exemples : @rlsr{Pitches}, @rlsr{Vocal music}. + @knownissues LilyPond ne gère pas les collisions entre plusieurs ambitus présents sur @@ -1253,7 +1248,6 @@ Pour une liste exhaustive des styles de tête de note, consultez @seealso - Référence du programme : @rinternals{NoteHead}. diff --git a/Documentation/fr/user/repeats.itely b/Documentation/fr/user/repeats.itely index f156855825..0ac017e0b6 100644 --- a/Documentation/fr/user/repeats.itely +++ b/Documentation/fr/user/repeats.itely @@ -189,8 +189,8 @@ débuter la ligne suivante avec une section reprise, on peut utiliser Consultez @ref{Bar lines} pour plus d'informations. -@seealso +@seealso Program reference: @rinternals{VoltaBracket}, @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic}, et @@ -272,7 +272,6 @@ c4 c4 @seealso - Référence du programme : @rinternals{VoltaBracket}, @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic}, et @@ -318,7 +317,6 @@ La subdivision des trémolos aboutit à un résultat semblable : voir @seealso - Dans ce manuel : @ref{Tremolo subdivisions}, @ref{Repeats}. Référence du programme : @rinternals{Beam}, @rinternals{StemTremolo}. @@ -352,7 +350,6 @@ le fichier MIDI. @seealso - Dans ce manuel : @ref{Tremolo repeats}. Référence du programme : @rinternals{StemTremolo}. @@ -401,7 +398,6 @@ R1 @seealso - Référence du programme : @rinternals{RepeatSlash}, @rinternals{PercentRepeat}, @rinternals{DoublePercentRepeat}, @rinternals{DoublePercentRepeatCounter}, diff --git a/Documentation/fr/user/rhythms.itely b/Documentation/fr/user/rhythms.itely index 7927de6a30..69fca08fbd 100644 --- a/Documentation/fr/user/rhythms.itely +++ b/Documentation/fr/user/rhythms.itely @@ -128,7 +128,6 @@ points. @seealso - Référence du programme : @rinternals{Dots}, @rinternals{DotColumn}. @@ -279,12 +278,10 @@ suivante, ou à la prochaine note. @seealso - Référence du programme : @rinternals{TupletBracket}, @rinternals{TupletNumber}, @rinternals{TimeScaledMusic}. - @node Scaling durations @unnumberedsubsubsec Scaling durations @@ -305,7 +302,6 @@ b16*4 c4 @seealso - Dans ce manuel : @ref{Tuplets}. @@ -435,7 +431,6 @@ le second la direction (1 pour haut, @minus{}1 pour bas). @seealso - Glossaire musical : @rglos{tie}, @rglos{laissez vibrer}. @@ -500,8 +495,8 @@ Cela rend plus facile la mise en place de la musique polyphonique, puisque le formateur automatique de collision des silences laissera ces silences tranquilles. -@seealso +@seealso Référence du programme : @rinternals{Rest}. @@ -545,8 +540,8 @@ note et de silence. Ainsi, le code suivant aboutit à une portée vide. Le fragment @code{@{ \skip 4 @} } produirait une page vide. -@seealso +@seealso Référence du programme : @rinternals{SkipMusic}. @@ -640,7 +635,6 @@ R1*4 @seealso - Référence du programme : @rinternals{MultiMeasureRestMusic}, @rinternals{MultiMeasureRest}. @@ -754,7 +748,6 @@ argument à la commande @code{set-time-signature}, en troisième position. @seealso - Référence du programme : @rinternals{TimeSignature} et @rinternals{Timing_translator}. @@ -1011,10 +1004,11 @@ multipliées par 3/5, de telle sorte que @w{3/5 * 10/8 = 3/4}. >> } @end lilypond -@seealso +@seealso Exemples : @rlsr{Rhythms}. + @knownissues L'utilisation de métriques différentes en parallèle entraine un @@ -1061,9 +1055,9 @@ normales et des points, le graveur n'insèrera pas de nolets. divise pas les silences. @seealso - Référence du programme : @rinternals{Completion_heads_engraver}. + @node Showing melody rhythms @unnumberedsubsubsec Showing melody rhythms @@ -1078,10 +1072,11 @@ ramenées à la même hauteur, sur une portée d'une seule ligne. } @end lilypond -@seealso +@seealso Référence du programme : @rinternals{RhythmicStaff}. + @node Beams @subsection Beams @@ -1116,7 +1111,6 @@ individuelles d'être rattachées aux autres. @seealso - Référence du programme : @rinternals{Beam}. @@ -1524,7 +1518,6 @@ reprises. Voyez à ce sujet @ref{Repeats}. @seealso - Dans ce manuel : @ref{Repeats}, @ref{Grouping staves}. Référence du programme : @rinternals{BarLine} (faisant partie du @@ -1593,7 +1586,6 @@ c4 c c c @seealso - Référence du programme : @rinternals{BarNumber}. Exemples : @rlsr{Staff notation}. @@ -1756,8 +1748,8 @@ Pour connaître les différents symboles accessibles par Pour affiner le positionnement des repères, veuillez vous référer à @ref{Text marks}. -@seealso +@seealso Dans ce manuel : @ref{Text marks}. Référence du programme : @rinternals{RehearsalMark}. @@ -1961,7 +1953,6 @@ Il est possible de forcer l'élasticité de l'espacement des notes d'agrément. @seealso - Référence du programme : @rinternals{GraceMusic}. diff --git a/Documentation/fr/user/simultaneous.itely b/Documentation/fr/user/simultaneous.itely index a10de03fd7..6c90dd26f9 100644 --- a/Documentation/fr/user/simultaneous.itely +++ b/Documentation/fr/user/simultaneous.itely @@ -68,14 +68,15 @@ Des notes ordinaires et des clusters peuvent cohabiter sur une même portée, y compris simultanément --- en pareil cas, rien ne sera fait pour tenter d'empécher les chevauchements entre notes et clusters. -@seealso +@seealso Référence du programme : @rinternals{ClusterSpanner}, @rinternals{ClusterSpannerBeacon}, @rinternals{Cluster_spanner_engraver}. Exemples : @rlsr{Simultaneous notes}. + @knownissues Les expressions musicales du type @code{<< @{ g8 e8 @} a4 >>} ne @@ -378,10 +379,11 @@ expressions musicales, comme ceci : Une section @code{\relative} en dehors de @code{\partcombine} sera sans effet sur les hauteurs de @var{musicexpr1} et @var{musicexpr2}. -@seealso +@seealso Référence du programme : @rinternals{PartCombineMusic}. + @knownissues Lorsque @code{printPartCombineTexts} est actif et que les deux voix diff --git a/Documentation/fr/user/spacing.itely b/Documentation/fr/user/spacing.itely index 6690b28400..a2f1c83956 100644 --- a/Documentation/fr/user/spacing.itely +++ b/Documentation/fr/user/spacing.itely @@ -243,18 +243,16 @@ l'objet @rinternals{SpacingSpanner}. @item Les affinages optiques se règlent en assignant @emph{vrai} à la propriété @code{uniform-stretching} du @rinternals{SpacingSpanner}. - @end itemize -@seealso +@seealso Exemples : @rlsr{Spacing}. Le fichier @file{input/proportional.ly} illustre la notation proportionnelle stricte. - @node Fitting music onto fewer pages @section Fitting music onto fewer pages diff --git a/Documentation/fr/user/staff.itely b/Documentation/fr/user/staff.itely index a910c67be7..6fe3e2f4ad 100644 --- a/Documentation/fr/user/staff.itely +++ b/Documentation/fr/user/staff.itely @@ -108,13 +108,13 @@ s'agit de l'assemblage par défaut. @seealso - Les barres de mesure au début de chaque système prennent l'un des styles @rinternals{SystemStartBar}, @rinternals{SystemStartBrace}, @rinternals{SystemStartBracket}. Dans chaque contexte, seul l'un de ces styles est utilisé, et c'est la propriété @code{systemStartDelimiter} qui détermine lequel. + @commonprop Les accolades et crochets délimitant les systèmes peuvent être imbriqués @@ -200,8 +200,8 @@ comme sur l'exemple suivant : @cindex épaisseur des lignes de portées @cindex nombre de lignes de portée -@seealso +@seealso Référence du programme : @rinternals{StaffSymbol}. Exemples : @rlsr{Staff notation}. @@ -322,7 +322,6 @@ Pour plus de détails, voir @ref{Formatting text}. @seealso - Référence du programme : @rinternals{MetronomeMark}. @@ -440,7 +439,6 @@ c1 c c c \break @seealso - Référence du programme : @rinternals{InstrumentName}. @@ -541,7 +539,6 @@ Citer des triolets imbriqués peut entraîner un résultat de médiocre qualité @seealso - Dans ce manuel : @ref{Instrument transpositions}. Exemples : @rlsr{Staff notation}. diff --git a/Documentation/fr/user/text.itely b/Documentation/fr/user/text.itely index fdd0f9d723..81121be778 100644 --- a/Documentation/fr/user/text.itely +++ b/Documentation/fr/user/text.itely @@ -99,7 +99,6 @@ Vous pouvez cependant l'y forcer en définissant @seealso - Dans ce manuel : @ref{Formatting text}. Référence du programme : @rinternals{TextScript}. @@ -231,8 +230,8 @@ début et la fin d'un glissando seraient en plein milieu des têtes de note. @end table -@seealso +@seealso Référence du programme : @rinternals{TextSpanner}, @rinternals{Glissando}, @rinternals{VoiceFollower}, @rinternals{TrillSpanner}, @rinternals{line-spanner-interface}. @@ -289,7 +288,6 @@ Pour obtenir une ligne pleine, utilisez @seealso - Référence du programme : @rinternals{TextSpanner}. @@ -439,7 +437,6 @@ affectation à chacune des portées : @seealso - Référence du programme : @rinternals{RehearsalMark}. @@ -602,7 +599,6 @@ en utilisant @code{normal-text}. Pour plus d'informations, consultez @seealso - Dans ce manuel : @ref{Text markup commands}. Référence du programme : @rinternals{TextScript}. @@ -675,8 +671,8 @@ tour des lignes de texte, comme ici : Les différentes commandes permettant de générer des listes de lignes se trouve dans @ref{Text markup list commands}. -@seealso +@seealso Dans ce manuel : @ref{Text markup list commands}, @ref{New markup list command definition}. @@ -792,8 +788,6 @@ du texte respectivement en roman, sans serif et monospace, comme ici : @c Apple TTF fonts - @seealso - Exemples : @rlsr{Text}. diff --git a/Documentation/fr/user/tutorial.itely b/Documentation/fr/user/tutorial.itely index a4dd9dc1be..d4a962b200 100644 --- a/Documentation/fr/user/tutorial.itely +++ b/Documentation/fr/user/tutorial.itely @@ -483,8 +483,8 @@ vus : } @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Writing pitches}, @ruser{Writing rhythms}, @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}. @@ -671,8 +671,8 @@ d'imprimer ou de garder un lien vers @ruser{Cheat sheet}, tableau qui répertorie les commandes usuelles pour une consultation rapide. @end ignore -@seealso +@seealso Vous trouverez plus de conseils pour construire des fichiers source dans @ref{Suggestions for writing LilyPond input files}. Cependant, lors d'une première lecture il est préférable de terminer d'abord la @@ -825,14 +825,15 @@ peuvent ainsi être imprimées suivant plusieurs conventions. Pour connaître les différentes manières dont les altérations accidentelles peuvent être imprimées, consultez @ruser{Automatic accidentals}. -@seealso +@seealso Manuel de notation : @ruser{Note names in other languages}, @ruser{Accidentals}, @ruser{Automatic accidentals}, @ruser{Key signature}. Glossaire musical : @rglos{Pitch names}. + @node Ties and slurs @subsection Ties and slurs @@ -911,11 +912,12 @@ enchâssées dans un @emph{legato} ou un phrasé. c2~( c8 fis fis4 ~ fis2 g2) @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing slurs}. + @node Articulation and dynamics @subsection Articulation and dynamics @@ -1000,8 +1002,8 @@ nuance d'arrivée, par exemple @code{\f}, soit par la commande c2\< c2\ff\> c2 c2\! @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Articulations and ornamentations}, @ruser{Fingering instructions}, @ruser{Dynamics}. @@ -1031,8 +1033,8 @@ a1_\markup{ } @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Writing text}. @@ -1081,8 +1083,8 @@ a8 c b4 d8. c16 b4 a8 c b4 d8. c16 b4 @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Automatic beams}, @ruser{Manual beams}. @@ -1160,8 +1162,8 @@ c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Grace notes}, @ruser{Tuplets}, @ruser{Upbeats}. @@ -1430,8 +1432,8 @@ Voici un bref exemple : } @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Keyboard and other multi-staff instruments}, @ruser{Displaying staves}. @@ -1530,8 +1532,8 @@ Là encore, ces expressions peuvent s'imbriquer arbitrairement : >> @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Simultaneous notes}. @@ -1755,8 +1757,8 @@ la syllabe @emph{al} est chantée sur la même note que @emph{go}. >> @end lilypond -@seealso +@seealso Manuel de notation : @ruser{Vocal music}. @@ -1798,10 +1800,11 @@ exemple simple, il est vivement conseillé de séparer la structure de la partition des notes et paroles, grâce à des variables. Ceci sera détaillé plus loin dans @ref{Organizing pieces with variables}. -@seealso +@seealso Manuel de notation : @ruser{Vocal music}. + @node Final touches @section Final touches diff --git a/Documentation/fr/user/tweaks.itely b/Documentation/fr/user/tweaks.itely index 172ccfdbc8..e3f859374e 100644 --- a/Documentation/fr/user/tweaks.itely +++ b/Documentation/fr/user/tweaks.itely @@ -291,8 +291,8 @@ c4^"piu mosso" d e f c4^"piu mosso" d e f @end lilypond -@seealso +@seealso Dans ce même manuel : @ruser{The \override command}, @ref{Common tweaks}. @@ -308,16 +308,13 @@ Pour trouver cette dénomination, regardez les liens @q{@strong{Voir aussi}} en bas des pages de la documentation. Par exemple, en bas de la page @ruser{Dynamics}, nous trouvons -@quotation -@seealso +@seealso Référence du programme : @rinternals{DynamicText}, @rinternals{Hairpin}. Le placement vertical de ces symboles est contrôlé par @rinternals{DynamicLineSpanner}. -@end quotation @noindent - Ce qui implique que, pour modifier la hauteur d'une nuance, nous utiliserons @example diff --git a/Documentation/fr/user/vocal.itely b/Documentation/fr/user/vocal.itely index ad31b9ea8c..9fbf8e4dc3 100644 --- a/Documentation/fr/user/vocal.itely +++ b/Documentation/fr/user/vocal.itely @@ -253,7 +253,6 @@ verseOne = \lyricmode @{ Joy to the world the Lord is come @} @seealso - Référence du programme : @rinternals{LyricText}, @rinternals{LyricSpace}. @@ -348,10 +347,10 @@ Le résultat donnera ainsi quelque chose comme >> @end example + @seealso - @c TODO: document \new Staff << Voice \lyricsto >> bug - +@c Référence du programme : @rinternals{LyricCombineMusic}, @rinternals{Lyrics}. @@ -488,8 +487,8 @@ Voici un exemple de cette manière de procéder : } >> @end lilypond + @seealso - Référence du programme : @rinternals{Lyrics}. @@ -515,13 +514,15 @@ installée qui contient ce symbole(par exemple DejaVuLGC).}. \addlyrics { pu- ro~y~ho- nes- to } @end lilypond -@seealso +@seealso Référence du programme : @rinternals{LyricCombineMusic}. + @c Here come the section which used to be "Melismata" @c the new title might be more self-explanatory + @node Multiple notes to one syllable @unnumberedsubsubsec Multiple notes to one syllable @@ -597,11 +598,11 @@ section @rlearning{Vocal ensembles}. @seealso - @comment Référence du programme : @rinternals{Melisma_translator}. Exemples : @rlsr{Vocal music}. + @knownissues Certains mélismes ne sont pas détectés automatiquement ; vous devrez @@ -640,8 +641,8 @@ imprimés. Cet inconvénient peut être contrôlé par et @code{minimum-length}, seuil en deçà duquel il n'y a pas de trait d'union. -@seealso +@seealso Référence du programme : @rinternals{LyricExtender}, @rinternals{LyricHyphen} @@ -1138,7 +1139,6 @@ text = \lyricmode { @seealso - Référence du programme : @rinternals{LyricText}, @rinternals{StanzaNumber}. diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely index 690c611a52..26aaa55343 100644 --- a/Documentation/user/ancient.itely +++ b/Documentation/user/ancient.itely @@ -206,10 +206,11 @@ specialized ligature engravers in the @rinternals{Voice} context, as explained in @ref{White mensural ligatures} and @ref{Gregorian square neume ligatures}. -@seealso +@seealso @c TODO: nothing here yet ... + @knownissues Ligatures need special spacing that has not yet been implemented. As @@ -303,13 +304,14 @@ supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and } @end lilypond -@seealso +@seealso Internals Reference: @rinternals{Custos}. Examples: @rlsr{Ancient notation}. + @c {{{2 Figured bass support @node Figured bass support @unnumberedsubsubsec Figured bass support @@ -369,8 +371,8 @@ entering the chant, as the following excerpt demonstrates: } @end lilypond -@seealso +@seealso TODO: nothing here yet ... @@ -482,10 +484,11 @@ petrucci style G clef @end lilypond @end multitable -@seealso +@seealso Notation Reference: see @ref{Clef}. + @knownissues The mensural g clef is mapped to the Petrucci g clef. @@ -579,11 +582,12 @@ differences in style: } @end lilypond -@seealso +@seealso Notation Reference: @ref{Time signature}, gives a general introduction to the use of time signatures. + @knownissues Ratios of note durations do not change with the time signature. For @@ -644,8 +648,8 @@ a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a' @end lilypond -@seealso +@seealso @ref{Note head styles} gives an overview of all available note head styles. @@ -677,10 +681,11 @@ There is no particular flag style for neo-mensural or Petrucci notation. @c music, the default flag style should be used. There are no flags in Gregorian chant notation. -@seealso +@seealso TODO: nothing here yet ... + @knownissues The attachment of ancient flags to stems is slightly off. @@ -728,8 +733,8 @@ See @rlsr{Pitches,rests} for a chart of all rests. There are no rests in Gregorian chant notation; instead, it uses @ref{Divisiones}. -@seealso +@seealso Notation Reference: @ref{Rests}, gives a general introduction into the use of rests. @@ -778,8 +783,8 @@ The style for accidentals and key signatures is controlled by the @code{\override Staff.Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist} -@seealso +@seealso Notation Reference: @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals} give a general introduction of the use of accidentals. @ref{Key signature} gives a general introduction of @@ -787,6 +792,7 @@ the use of key signatures. Internals Reference: @rinternals{KeySignature}. + @c {{{2 Annotational accidentals (musica ficta) @node Annotational accidentals (musica ficta) @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta}) @@ -827,8 +833,8 @@ ficta = { \once \set suggestAccidentals = ##t } } @end lilypond -@seealso +@seealso Internals Reference: @rinternals{Accidental_engraver} engraver and the @rinternals{AccidentalSuggestion} object. @@ -919,10 +925,11 @@ to the following } @end lilypond -@seealso +@seealso TODO: nothing here yet ... + @knownissues Horizontal spacing is poor. @@ -986,10 +993,11 @@ the following excerpt demonstrates: } @end lilypond -@seealso +@seealso TODO: nothing here yet ... + @c {{{2 Gregorian clefs @node Gregorian clefs @unnumberedsubsubsec Gregorian clefs @@ -1122,10 +1130,11 @@ hufnagel style combined do/fa clef @end lilypond @end multitable -@seealso +@seealso Notation Reference: see @ref{Clef}. + @c {{{2 Gregorian accidentals and key signatures @node Gregorian accidentals and key signatures @unnumberedsubsubsec Gregorian accidentals and key signatures @@ -1183,8 +1192,8 @@ The style for accidentals and key signatures is controlled by the @code{\override Staff.Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist} -@seealso +@seealso Notation Reference: @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals} give a general introduction of the use of accidentals. @ref{Key signature} gives a general introduction of @@ -1192,6 +1201,7 @@ the use of key signatures. Internals Reference: @rinternals{KeySignature}. + @c {{{2Divisiones @node Divisiones @unnumberedsubsubsec Divisiones @@ -1263,10 +1273,11 @@ Vaticana} style are provided. } @end lilypond -@seealso +@seealso TODO: nothing here yet ... + @knownissues Some articulations are vertically placed too closely to the @@ -1301,7 +1312,6 @@ note that you can say @code{\augmentum @{a g@}} as a shortcut for @seealso - Notation Reference: @ref{Breath marks}. Internals Reference: @rinternals{BreathingSign}. @@ -1309,7 +1319,6 @@ Internals Reference: @rinternals{BreathingSign}. Examples: @rlsr{Ancient notation}. - @c {{{2Gregorian square neumes ligatures @node Gregorian square neume ligatures @unnumberedsubsubsec Gregorian square neume ligatures @@ -2242,10 +2251,11 @@ respectively. @funindex \augmentum Use the unary music function @code{\augmentum} to add augmentum dots. -@seealso +@seealso TODO: nothing here yet ... + @knownissues When an @code{\augmentum} dot appears at the end of the last staff @@ -2297,10 +2307,11 @@ same source. @c use snippet Transcription-of-ancient-music-with-incipit TBC -@seealso +@seealso @c ... and reference to other sections ... + @c {{{2Mensurstriche layout @node Mensurstriche layout @unnumberedsubsubsec Mensurstriche layout @@ -2322,8 +2333,8 @@ orientation aids that bar lines give. @c from lsr and -user TBC -@seealso +@seealso @c ... and reference to other sections ... @@ -2335,8 +2346,8 @@ TBC @c extract from 1.6.1.1 TBC -@seealso +@seealso @c ... and reference to other sections ... @@ -2348,8 +2359,8 @@ TBC @c Here among others the snippets about reducing note length TBC -@seealso +@seealso @c ... and reference to other sections ... @@ -2377,7 +2388,7 @@ TBC TBC -@seealso +@seealso @c ... and reference to other sections ... diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely index edc5545759..f3ba95a48a 100644 --- a/Documentation/user/changing-defaults.itely +++ b/Documentation/user/changing-defaults.itely @@ -63,8 +63,8 @@ This section describes what contexts are, and how to modify them. * Aligning contexts:: @end menu -@seealso +@seealso Learning Manual: @rlearning{Contexts and engravers}. @@ -1260,7 +1260,6 @@ such as @seealso - Internals: @rinternals{OverrideProperty}, @rinternals{RevertProperty}, @rinternals{PropertySet}, @rinternals{Backend}, and @rinternals{All layout objects}. @@ -1557,14 +1556,15 @@ including any automatically inserted elements, may be examined, see @ref{Displaying music expressions}. This may be helpful in determining what may be modified by a @code{\tweak} command. -@seealso +@seealso Learning Manual: @rlearning{Tweaking methods}. Notation Reference: @ref{Displaying music expressions}. + @knownissues @cindex tweaks in a variable @@ -1886,8 +1886,8 @@ convert from a font size change to the equivalent change in @code{staff-space}. For an explanation and an example of its use, see @rlearning{Length and thickness of objects}. -@seealso +@seealso Learning Manual: @rlearning{Length and thickness of objects}. @@ -2223,9 +2223,7 @@ When using @code{\endSpanners} it is not necessary to close hairpins with @code{\!}. - @seealso - Internals Reference: @rinternals{TextSpanner}, @rinternals{Glissando}, @rinternals{VoiceFollower}, @rinternals{TrillSpanner}, @@ -2697,8 +2695,8 @@ appearance of the printed score. * Modifying shapes:: @end menu -@seealso +@seealso Learning Manual: @rlearning{Tweaking output}, @rlearning{Other sources of information}. @@ -2717,6 +2715,7 @@ Snippets: Internals Reference: @rinternals{All layout objects}. + @node Aligning objects @subsection Aligning objects @@ -3063,8 +3062,8 @@ Any of the glyphs in the feta Font can be supplied to the @c TODO Add inserting Postscript or ref to later -@seealso +@seealso Notation Reference: @ref{Graphic notation inside markup}, @ref{Formatting text}, diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index cae304bf00..c66c74f224 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -73,7 +73,6 @@ Chord mode and note mode can be mixed in sequential music: @seealso - Music Glossary: @rglos{chord}. @@ -84,6 +83,7 @@ Notation Reference: Snippets: @rlsr{Chords} + @knownissues When chord mode and note mode are mixed in sequential music, and @@ -221,13 +221,13 @@ to create a major triad. @seealso - Notation Reference: @ref{Common chord modifiers}. Snippets: @rlsr{Chords}. + @node Extended and altered chords @unnumberedsubsubsec Extended and altered chords @@ -359,14 +359,15 @@ Chord modifiers that can be used to produce a variety of standard chords are shown in @ref{Common chord modifiers}. -@seealso +@seealso Notation Reference: @ref{Common chord modifiers}. Snippets: @rlsr{Chords} + @knownissues Each step can only be present in a chord once. The following @@ -470,15 +471,12 @@ of the mode of entry, unless there are inversions or added bass notes: @seealso - Music Glossary: @rglos{chord}. - Notation Reference: @ref{Writing music in parallel}. - Snippets: @rlsr{Chords}. @@ -489,6 +487,7 @@ Internals Reference: @rinternals{Volta_engraver}, @rinternals{Bar_engraver}. + @knownissues Chords containing inversions or altered bass notes are not named @@ -627,7 +626,6 @@ The spacer is not used when the root is altered. @seealso - Notation Reference: @ref{Chord name chart}, @ref{Common chord modifiers}. @@ -643,6 +641,7 @@ Snippets: @c Internals Reference: @c @r internals{}. + @knownissues Chord names are determined from both the pitches that are present @@ -727,8 +726,8 @@ example, the vertical spacing of the figures may be set with @code{baseline-skip}. @end ignore -@seealso +@seealso Music Glossary: @rglos{figured bass}. @@ -911,22 +910,23 @@ End of continuation line @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-the-positions-of-figured-bass-alterations.ly} + @seealso @c Music Glossary: @c @rglos{}. - +@c @c Learning Manual: @c @rlearning{}. - +@c @c Notation Reference: @c @ref{}. - +@c @c Application Usage: @c @rprogram{}. - +@c @c Installed Files: @c @file{}. - +@c Snippets: @rlsr{Chords}. @@ -938,8 +938,10 @@ Internals Reference: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @c @knownissues + @node Displaying figured bass @unnumberedsubsubsec Displaying figured bass @@ -1020,22 +1022,23 @@ or below the staff. @c @snippets + @seealso @c Music Glossary: @c @rglos{}. - +@c @c Learning Manual: @c @rlearning{}. - +@c @c Notation Reference: @c @ref{}. - +@c @c Application Usage: @c @rprogram{}. - +@c @c Installed Files: @c @file{}. - +@c Snippets: @rlsr{Chords}. @@ -1047,6 +1050,7 @@ Internals Reference: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @knownissues To ensure that continuation lines work properly, it is diff --git a/Documentation/user/editorial.itely b/Documentation/user/editorial.itely index 829754b474..c8d021a84a 100644 --- a/Documentation/user/editorial.itely +++ b/Documentation/user/editorial.itely @@ -135,7 +135,6 @@ that use fonts. These are the ones supporting the @seealso - Snippets: @rlsr{Editorial annotations}. @@ -200,8 +199,8 @@ staff, see @ref{Direction and placement}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {avoiding-collisions-of-chord-fingering-with-beams.ly} -@seealso +@seealso Notation Reference: @ref{Direction and placement} @@ -262,7 +261,6 @@ e4(\p f)-- @seealso - Snippets: @rlsr{Editorial annotations}. @@ -351,8 +349,8 @@ gis8 a gis4 a @end lilypond -@seealso +@seealso Notation Reference: @ref{List of colors}, @ref{The tweak command}. @@ -360,6 +358,7 @@ tweak command}. Snippets: @rlsr{Editorial annotations}. + @cindex x11 color @cindex colored notes in chords @cindex notes, colored in chords @@ -407,8 +406,8 @@ c2-\parenthesize -. d c2 \parenthesize r @end lilypond -@seealso +@seealso Snippets: @rlsr{Editorial annotations}. @@ -417,6 +416,7 @@ Internals Reference: @rinternals{ParenthesesItem}, @rinternals{parentheses-interface}. + @knownissues Parenthesizing a chord prints parentheses around each individual @@ -456,6 +456,7 @@ made invisible. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {default-direction-of-stems-on-the-center-line-of-the-staff.ly} + @seealso Notation Reference: @ref{Direction and placement}. @@ -544,7 +545,6 @@ altered: @seealso - Snippets: @rlsr{Editorial annotations}. @@ -611,7 +611,6 @@ lines. @seealso - Snippets: @rlsr{Editorial annotations}. @@ -673,8 +672,8 @@ Analysis brackets may be nested. } @end lilypond -@seealso +@seealso Snippets: @rlsr{Editorial annotations}. diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely index 20ffb83bfb..17bc053ee0 100644 --- a/Documentation/user/expressive.itely +++ b/Documentation/user/expressive.itely @@ -121,7 +121,6 @@ may be manually placed above or below the staff, see @seealso - Music Glossary: @rglos{tenuto}, @rglos{accent}, @@ -350,7 +349,6 @@ Vertical positioning of dynamics is handled by @seealso - Music Glossary: @rglos{al niente}, @rglos{crescendo}, @@ -467,7 +465,6 @@ Font settings in markup mode are described in @seealso - Notation Reference: @ref{Formatting text}, @ref{Selecting font and font size}, @@ -588,7 +585,6 @@ g4( e c2) @seealso - Music Glossary: @rglos{slur}. @@ -684,7 +680,6 @@ g4\( e c2\) @seealso - Learning Manual: @rlearning{On the un-nestedness of brackets and ties}. @@ -729,7 +724,6 @@ divisiones, are supported. For details, see @ref{Divisiones}. @seealso - Music Glossary: @rglos{caesura}. @@ -775,7 +769,6 @@ command is @emph{required} when writing falls and doits. @seealso - Music Glossary: @rglos{fall}, @rglos{doit}. @@ -821,7 +814,6 @@ Different styles of glissandi can be created. For details, see @seealso - Music Glossary: @rglos{glissando}. @@ -924,7 +916,6 @@ information, see @ref{Ties}. @seealso - Music Glossary: @rglos{arpeggio}. @@ -1030,7 +1021,6 @@ g\stopTrillSpan @seealso - Music Glossary: @rglos{trill}. diff --git a/Documentation/user/fretted-strings.itely b/Documentation/user/fretted-strings.itely index 65290e1f80..84a68f466f 100644 --- a/Documentation/user/fretted-strings.itely +++ b/Documentation/user/fretted-strings.itely @@ -70,8 +70,8 @@ in @ref{Collision resolution}. @end itemize -@seealso +@seealso Notation Reference: @ref{Fingering instructions}, @ref{Ties}, @@ -82,6 +82,7 @@ Notation Reference: @ref{List of articulations}, @ref{Clef}. + @node String number indications @unnumberedsubsubsec String number indications @@ -120,8 +121,8 @@ in the code: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {allowing-fingerings-to-be-printed-inside-the-staff.ly} -@seealso +@seealso Notation Reference: @ref{Fingering instructions}. @@ -211,8 +212,8 @@ notation. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {polyphony-in-tablature.ly} -@seealso +@seealso Notation Reference: @ref{Stems}. @@ -225,6 +226,7 @@ Internals Reference: @rinternals{TabVoice}, @rinternals{Beam}. + @knownissues Chords are not handled in a special way, and hence the automatic @@ -335,8 +337,8 @@ mynotes = { >> @end lilypond -@seealso +@seealso Installed Files: @file{scm/output-lib.scm}. @@ -697,7 +699,6 @@ markup, the interface properties belong to @code{Voice.TextScript}. @seealso - Notation Reference: @ref{Text markup commands}. @@ -707,6 +708,7 @@ Snippets: Internals Reference: @rinternals{fret-diagram-interface}. + @node Predefined fret diagrams @unnumberedsubsubsec Predefined fret diagrams @@ -942,8 +944,8 @@ predefined fret diagram, the interface properties belong to @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {defining-predefined-fretboards-for-other-instruments.ly} -@seealso +@seealso Notation Reference: @ref{Custom tablatures}, @ref{Automatic fret diagrams}, @@ -1106,7 +1108,6 @@ Details are found at @rinternals{fret-diagram-interface}. For a @seealso - Notation Reference: @ref{Custom tablatures}. @@ -1160,8 +1161,8 @@ short, for example @code{RH}, @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {fingerings,-string-indications,-and-right-hand-fingerings.ly} -@seealso +@seealso Snippets: @rlsr{Fretted strings}. @@ -1205,8 +1206,8 @@ b16 d g b e e16 b g d @end lilypond -@seealso +@seealso Notation Reference: @ref{Text spanners}. @@ -1214,6 +1215,7 @@ Snippets: @rlsr{Fretted strings}, @rlsr{Expressive marks}. + @node Indicating harmonics and dampened notes @unnumberedsubsubsec Indicating harmonics and dampened notes @@ -1236,8 +1238,8 @@ text markup. } @end lilypond -@seealso +@seealso Snippets: @rlsr{Fretted strings}. @@ -1245,6 +1247,7 @@ Notation Reference: @ref{Special note heads}, @ref{Note head styles}. + @node Banjo @subsection Banjo @@ -1298,14 +1301,9 @@ These tunings may be converted to four-string banjo tunings using the \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) @end example -@seealso +@seealso Snippets: @rlsr{Fretted strings}. The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings. - - - - - diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely index 0a3588ef39..56047f3a8a 100644 --- a/Documentation/user/fundamental.itely +++ b/Documentation/user/fundamental.itely @@ -242,12 +242,11 @@ limitations on variable names are detailed in @ruser{File structure}. - @seealso - For a complete definition of the input format, see @ruser{File structure}. + @node Score is a (single) compound musical expression @subsection Score is a (single) compound musical expression @@ -395,10 +394,11 @@ each smaller level. It also really helps to be strict with indentation -- make sure that each item on the same level starts on the same horizontal position in your text editor. -@seealso +@seealso Notation Reference: @ruser{Structure of a score}. + @node Nesting music expressions @subsection Nesting music expressions @@ -461,8 +461,8 @@ of a single Staff. Here it says that the new staff should be placed above the staff called @qq{main} instead of the default position which is below. -@seealso +@seealso Ossia are often written without clef and without time signature and are usually in a smaller font. These require further commands which @@ -924,8 +924,8 @@ to see how to correct this, so we shall leave this problem until a later section --- see the @code{force-hshift} property in @ref{Fixing overlapping notation}. -@seealso +@seealso Notation Reference: @ruser{Multiple voices}. @@ -1168,8 +1168,8 @@ same direction are placed at the same position and both voices have no shift or the same shift specified, the error message @qq{Too many clashing note columns} will be produced. -@seealso +@seealso Notation Reference: @ruser{Multiple voices}. @@ -1517,8 +1517,8 @@ refrainwordsB = \lyricmode { } @end lilypond -@seealso +@seealso Notation Reference: @ruser{Vocal music}. @@ -1609,8 +1609,8 @@ words, each word being capitalized and joined immediately to the preceding word with no hyphen or underscore, e.g., @code{GregorianTranscriptionStaff}. -@seealso +@seealso Notation Reference: @ruser{Contexts explained}. @@ -1720,8 +1720,8 @@ The identifying name is used to refer back to that particular instance of a context. We saw this in use in the section on lyrics, see @ref{Voices and vocals}. -@seealso +@seealso Notation Reference: @ruser{Creating contexts}. @@ -1805,8 +1805,8 @@ from the name, or vice versa. We shall see later how the output of LilyPond can be changed by modifying the action of Engravers. -@seealso +@seealso Internals reference: @rinternals{Engravers and Performers}. @@ -2092,8 +2092,8 @@ Context properties set in this way may be overridden for particular instances of contexts by statements in a @code{\with} block, and by @code{\set} commands embedded in music statements. -@seealso +@seealso Notation Reference: @ruser{Changing context default settings}. @c FIXME @@ -2250,8 +2250,8 @@ for all contexts of a particular type by including the @code{\set} command in a @code{\context} block in the same way. -@seealso +@seealso Notation Reference: @ruser{Modifying context plug-ins}, @ruser{Changing context default settings}. @@ -2451,8 +2451,8 @@ celloMusic = \relative c { } @end lilypond -@seealso +@seealso The starting templates can be found in the @q{Templates} appendix, see @ref{Single staff}. diff --git a/Documentation/user/input.itely b/Documentation/user/input.itely index 9dfb17d063..51f50b887e 100644 --- a/Documentation/user/input.itely +++ b/Documentation/user/input.itely @@ -99,10 +99,9 @@ input file. They may be placed inside or outside a @code{\score} block, and inside or outside the single music expression within a @code{\score} block. -@seealso +@seealso Learning Manual: - @rlearning{Working on input files}, @rlearning{Music expressions explained}, @rlearning{Score is a (single) compound musical expression}. @@ -355,11 +354,12 @@ A multi-line comment delimited by @code{%@{ .. %@}}. @end itemize -@seealso +@seealso Learning Manual: @rlearning{How LilyPond input files work}. + @node Titles and headers @section Titles and headers @@ -777,8 +777,8 @@ tocAct = } @end lilypond -@seealso +@seealso Init files: @file{../ly/@/toc@/-init@/.ly}. @@ -893,11 +893,13 @@ them will be lost on installing a new version of LilyPond. Some simple examples of using @code{\include} are shown in @rlearning{Scores and parts}. + @seealso Learning Manual: @rlearning{Other sources of information}, @rlearning{Scores and parts}. + @knownissues If an included file is given a name which is the same as one in @@ -1117,8 +1119,8 @@ expression will cause @emph{all} tagged sections to be removed, as the first filter will remove all tagged sections except the one named, and the second filter will remove even that tagged section. -@seealso +@seealso Learning Manual: @rlearning{Organizing pieces with variables}. @@ -1126,6 +1128,7 @@ Notation Reference: @ref{Automatic part combining}, @ref{Including LilyPond files}. + @ignore @c This warning is more general than this placement implies. @c Rests are not merged whether or not they come from tagged sections. diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index 8920516af6..3840c2f657 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -578,10 +578,11 @@ context contains more than one Voice context. Similarly, multiple Staff contexts can be put into a single Score context. The Score context is the top level notation context. -@seealso +@seealso Internals Reference: @rinternals{Contexts}. + @lilypond[quote,ragged-right] \include "engraver-example.ily" \score { diff --git a/Documentation/user/keyboards.itely b/Documentation/user/keyboards.itely index dc53ba3db2..308fb9389c 100644 --- a/Documentation/user/keyboards.itely +++ b/Documentation/user/keyboards.itely @@ -99,8 +99,8 @@ as shown in @rlearning{Other uses for tweaks}. @end itemize -@seealso +@seealso Learning Manual: @rlearning{Real music example}, @rlearning{Other uses for tweaks}. @@ -123,6 +123,7 @@ Internals Reference: Snippets: @rlsr{Keyboards}. + @knownissues @cindex keyboard music, centering dynamics @@ -191,8 +192,8 @@ center of the staff that is closest to the beam. For a simple example of beam tweaking, see @rlearning{Fixing overlapping notation}. -@seealso +@seealso Learning Manual: @rlearning{Fixing overlapping notation}. @@ -277,8 +278,8 @@ necessary to place a key signature in the lower staff: >> @end lilypond -@seealso +@seealso Notation Reference: @ref{Changing staff manually}. @@ -288,6 +289,7 @@ Snippets: Internals Reference: @rinternals{AutoChangeMusic}. + @knownissues @cindex chords, splitting across staves with \autochange @@ -345,7 +347,6 @@ notes can be printed automatically: @seealso - Snippets: @rlsr{Keyboards}. @@ -407,14 +408,15 @@ Chords that cross staves may be produced: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {indicating-cross-staff-chords-with-arpeggio-bracket.ly} -@seealso +@seealso Snippets: @rlsr{Keyboards}. Internals Reference: @rinternals{Stem}. + @node Piano @subsection Piano @@ -497,8 +499,8 @@ The placement of the pedal commands matches the physical movement of the sustain pedal during piano performance. Pedalling to the final bar line is indicated by omitting the final pedal up command. -@seealso +@seealso Notation Reference: @ref{Ties}. @@ -518,6 +520,7 @@ Internals Reference: @rinternals{PianoPedalBracket}, @rinternals{Piano_pedal_engraver}. + @node Accordion @subsection Accordion @@ -549,8 +552,8 @@ come into use to simplify the performance instructions. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {accordion-discant-symbols.ly} -@seealso +@seealso Snippets: @rlsr{Keyboards}. diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index 34ebeab922..8d2c16009d 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -359,6 +359,7 @@ and then saying only how many systems you want before each fragment, \begin@{lilypond@}...\end@{lilypond@} @end example + @seealso There are specific @command{lilypond-book} command line options and other details to know when processing @LaTeX{} documents, see diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 9475f27d76..de4c2389f1 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -554,8 +554,8 @@ Languages in this order. @item FI: A, a @end itemize -@seealso +@seealso @ref{Pitch names}. @@ -585,8 +585,8 @@ or groups of players (@q{desks}). @end enumerate -@seealso +@seealso None yet. @@ -606,8 +606,8 @@ FI: accelerando, kiihdyttäen. Increase tempo -@seealso +@seealso None yet. @@ -625,8 +625,8 @@ FI: aksentti, korostus. The stress of one tone over others. -@seealso +@seealso None yet. @@ -634,7 +634,6 @@ None yet. @section accessory @seealso - @ref{ornament}. @@ -646,8 +645,8 @@ principal note to which it is attached. The acciaccatura is drawn as a small eighth note (quaver) with a line drawn through the flag and stem. -@seealso +@seealso @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. @@ -696,8 +695,8 @@ An accidental alters a note by: >> @end lilypond -@seealso +@seealso @ref{alteration}, @ref{semitone}, @ref{whole tone}. @@ -725,8 +724,8 @@ of sonatas, symphonies, etc. @end itemize -@seealso +@seealso @ref{andante}, @ref{largo}, @ref{sonata}. @@ -772,8 +771,8 @@ Since one does not crescendo @emph{to} nothing, it is not correct to use @notation{al niente} with @notation{crescendo}. Instead, one should use @emph{dal niente} (@notation{@b{from} nothing}). -@seealso +@seealso @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}. @@ -792,8 +791,8 @@ FI: allegro, nopeasti. [Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a sonata. -@seealso +@seealso @ref{sonata}. @@ -812,8 +811,8 @@ FI: muunnettu. An alteration is the modification, raising or lowering, of a note's pitch. It is established by an accidental. -@seealso +@seealso @ref{accidental}. @@ -834,8 +833,8 @@ was a high male voice (hence the name), which by the use of falsetto reached the height of the female voice. This type of voice is also known as countertenor. -@seealso +@seealso @ref{countertenor}. @@ -853,8 +852,8 @@ FI: alttoavain. C clef setting middle C on the middle line of the staff. -@seealso +@seealso @ref{C clef}. @@ -875,8 +874,8 @@ Denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}). -@seealso +@seealso None yet. @@ -904,8 +903,8 @@ note(s) of a melody occurring in that incomplete measure. bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" } @end lilypond -@seealso +@seealso @ref{measure}, @ref{meter}. @@ -929,8 +928,8 @@ Also called @q{natural minor scale}. a1 b c d e f g a } @end lilypond -@seealso +@seealso @ref{diatonic scale}. @@ -950,8 +949,8 @@ FI: andante, käyden. Walking tempo/character. -@seealso +@seealso None yet. @@ -1015,8 +1014,8 @@ An appoggiatura may have more notes preceding the main note. } @end lilypond -@seealso +@seealso None yet. @@ -1054,8 +1053,8 @@ FI: arpeggio, murtosointu. >> @end lilypond -@seealso +@seealso None yet. @@ -1075,8 +1074,8 @@ Articulation refers to notation which indicates how a note or notes should be played. Slurs, accents, staccato, and legato are all examples of articulation. -@seealso +@seealso None yet. @@ -1094,8 +1093,8 @@ FI: nouseva intervalli. A distance between a starting lower note and a higher ending note. -@seealso +@seealso None yet. @@ -1111,8 +1110,8 @@ DK: forstørret interval, S: överstigande intervall, FI: ylinouseva intervalli. -@seealso +@seealso @ref{interval}. @@ -1132,8 +1131,8 @@ FI: aika-arvojen pidentäminen. This is a placeholder for augmentation (wrt mensural notation). -@seealso +@seealso @ref{diminution}, @ref{mensural notation}. @@ -1159,8 +1158,8 @@ emulate engraving. This required more skill than did engraving. @end itemize -@seealso +@seealso None yet. @@ -1178,24 +1177,24 @@ None yet. @item FI: H, h @end itemize -@seealso +@seealso @ref{H}, @ref{Pitch names} @node backfall @section backfall -@seealso +@seealso @ref{appoggiatura}. @node bar @section bar -@seealso +@seealso @ref{measure}. @@ -1216,8 +1215,8 @@ separates measures. Used very infrequently during the Renaissance (mostly in secular music, or in sacred music to indicate congruences between parts in otherwise-unmetered music). -@seealso +@seealso @ref{measure}. @@ -1237,8 +1236,8 @@ The male voice intermediate in pitch between the bass and the tenor. @c F: clef de troisième ligne dropped -@seealso +@seealso @ref{bass}, @ref{tenor}. @@ -1256,8 +1255,8 @@ FI: baritoniavain. C or F clef setting middle C on the upper staff line. -@seealso +@seealso @ref{C clef}, @ref{F clef}. @@ -1282,8 +1281,8 @@ double bass. @end itemize -@seealso +@seealso @ref{strings}. @@ -1301,8 +1300,8 @@ FI: bassoavain. A clef setting with middle C on the first top ledger line. -@seealso +@seealso @ref{F clef}. @@ -1331,8 +1330,8 @@ number of beams determines the note value of the connected notes. g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 } @end lilypond -@seealso +@seealso @ref{feathered beam}. @@ -1360,24 +1359,24 @@ at the start of the music by the @notation{time signature}. \relative c'' { g8 d' c | b c a | g4. \bar "||"} @end lilypond -@seealso +@seealso @ref{time signature}. @node beat repeat @section beat repeat -@seealso +@seealso @ref{percent repeat}. @node bind @section bind -@seealso +@seealso @ref{tie}. @@ -1414,8 +1413,8 @@ Angular brackets for connecting parts in an orchestral or choral score: \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond -@seealso +@seealso None yet. @@ -1431,8 +1430,8 @@ DK: ?, S: ?, FI: sulkumerkki. -@seealso +@seealso @ref{brace} @@ -1452,8 +1451,8 @@ A family of blown musical instruments made of brass, all using a cup formed mouth piece. The brass instruments commonly used in a symphony orchestra are trumpet, trombone, french horn, and tube. -@seealso +@seealso None yet. @@ -1471,8 +1470,8 @@ FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. -@seealso +@seealso @ref{caesura}. @@ -1500,8 +1499,8 @@ name, which originally meant @q{of short duration}. \relative c'' { g\breve } @end lilypond -@seealso +@seealso @ref{mensural notation}, @ref{note value}. @@ -1519,8 +1518,8 @@ name, which originally meant @q{of short duration}. @item FI: C, c @end itemize -@seealso +@seealso @ref{Pitch names}. @@ -1557,8 +1556,8 @@ lines. >> @end lilypond -@seealso +@seealso None yet. @@ -1574,8 +1573,8 @@ DK: kadence, S: kadens, FI: kadenssi, lopuke. -@seealso +@seealso @ref{harmonic cadence}, @ref{functional harmony}. @@ -1597,8 +1596,8 @@ chance to exhibit their technical skill and -- not last -- their ability to improvise. Since the middle of the 19th century, however, most cadenzas have been written down by the composer. -@seealso +@seealso None yet. @@ -1619,8 +1618,8 @@ FI: välimerkki. The break between two musical phrases, sometimes (but not always) marked by a rest or a breath mark. -@seealso +@seealso @ref{breath mark}. @@ -1636,8 +1635,8 @@ DK: kanon, S: kanon, FI: kaanon, tarkka jäljittely. -@seealso +@seealso @ref{counterpoint}. @@ -1657,16 +1656,16 @@ viritysjärjestelmässä. Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 of an equally tempered semitone). -@seealso +@seealso @ref{equal temperament}, @ref{semitone}. @node central C @section central C -@seealso +@seealso @ref{middle C}. @@ -1716,8 +1715,8 @@ minor. >> @end lilypond -@seealso +@seealso @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, @ref{third}. @@ -1741,8 +1740,8 @@ A scale consisting of all 12 semitones. \relative c' { c1 cis d dis e f fis g gis a ais b c } @end lilypond -@seealso +@seealso @ref{semitone}. @@ -1760,8 +1759,8 @@ FI: kromatiikka. Using tones extraneous to a diatonic scale (minor, major). -@seealso +@seealso @ref{diatonic scale}. @@ -1777,8 +1776,8 @@ DK: kirketoneart, S: kyrkotonart, FI: moodi, kirkkosävellaji. -@seealso +@seealso @ref{diatonic scale}. @@ -2047,8 +2046,8 @@ major chord. } @end lilypond -@seealso +@seealso @ref{C clef}, @ref{F clef}, @ref{G clef}. @@ -2090,8 +2089,8 @@ pitch contained in the cluster would be notated as an ordinary note. \makeClusters { } @end lilypond -@seealso +@seealso None yet. @@ -2110,8 +2109,8 @@ FI: komma, korvinkuultava ero äänenkorkeudessa. Difference in pitch between a note derived from pure tuning and the same note derived from some other tuning method. -@seealso +@seealso @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, @ref{temperament}. @@ -2122,7 +2121,6 @@ same note derived from some other tuning method. Another name for @ref{common time}. @seealso - @ref{common time}, @ref{meter}. @@ -2141,8 +2139,8 @@ FI: C-merkintä. 4/4 time. The symbol, which resembles a capital letter C, comes from mensural notation. -@seealso +@seealso @ref{mensural notation}, @ref{meter}. @@ -2158,8 +2156,8 @@ DK: komplementærinterval, S: komplementärintervall (?), FI: täydentävä intervalli. -@seealso +@seealso @ref{inverted interval}. @@ -2177,8 +2175,8 @@ FI: oktaavia laajempi intervalli. Intervals larger than an octave. -@seealso +@seealso @ref{interval}. @@ -2197,8 +2195,8 @@ FI: kolmijakoinen tahtilaji. A meter that includes a triplet subdivision within the beat, such as 6/8, 9/8, 12/8. -@seealso +@seealso @ref{meter}, @ref{simple meter}. @@ -2253,8 +2251,8 @@ A time signature that additively combines two or more unequal meters, e.g., @end enumerate -@seealso +@seealso @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}. @@ -2322,8 +2320,8 @@ are, technically speaking, @emph{transposing instruments}: @end itemize -@seealso +@seealso @ref{transposing instrument}. @@ -2347,8 +2345,8 @@ Progressing melodically by intervals of a second, as contrasted with \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } @end lilypond -@seealso +@seealso @ref{disjunct movement}. @@ -2364,8 +2362,8 @@ DK: konsonans, S: konsonans, FI: konsonanssi, sopusointi. -@seealso +@seealso @ref{harmony}. @@ -2381,8 +2379,8 @@ DK: alt, S: alt, FI: kontra-altto. -@seealso +@seealso @ref{alto}. @@ -2397,8 +2395,8 @@ music typesetters. @c Copying music required more skill than engraving. Flagged for NPOV -@seealso +@seealso None yet. @@ -2460,8 +2458,8 @@ has been one of the most popular polyphonic composition methods. >> @end lilypond -@seealso +@seealso None yet. @@ -2477,8 +2475,8 @@ DK: kontratenor, S: kontratenor, counter tenor, FI: kontratenori. -@seealso +@seealso @ref{contralto}. @@ -2502,8 +2500,8 @@ Increasing volume. Indicated by a rightwards opening horizontal wedge \relative c'' { g4 \< a b c | d1\! \bar "|." } @end lilypond -@seealso +@seealso @ref{decrescendo}, @ref{hairpin}. @@ -2522,8 +2520,8 @@ FI: vihjenuotit. In a separate part notes belonging to another part with the purpose of hinting when to start playing. Usually printed in a smaller type. -@seealso +@seealso None yet. @@ -2570,8 +2568,8 @@ they have survived only in special forms of musical notation such as the } @end lilypond -@seealso +@seealso None yet. @@ -2589,8 +2587,8 @@ None yet. @item FI: D, d @end itemize -@seealso +@seealso @ref{Pitch names} @@ -2609,8 +2607,8 @@ FI: da capo, alusta. Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from the beginning to the end or to a certain place marked @emph{fine}. -@seealso +@seealso None yet. @@ -2629,8 +2627,8 @@ FI: tyhjästä ilmaantuen. [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate that the sound should gradually increase from nothing. -@seealso +@seealso @ref{al niente}. @@ -2663,8 +2661,8 @@ another place frequently near the beginning marked by a sign } @end lilypond -@seealso +@seealso None yet. @@ -2689,8 +2687,8 @@ wedge (hairpin) or the abbreviation @notation{decresc.}. } @end lilypond -@seealso +@seealso @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}. @@ -2708,8 +2706,8 @@ FI: laskeva intervalli. A distance between a starting higher note and a lower ending note. -@seealso +@seealso None yet. @@ -2912,16 +2910,16 @@ the 6th and 7th tone. >> @end lilypond -@seealso +@seealso @ref{semitone}, @ref{whole tone}. @node didymic comma @section didymic comma -@seealso +@seealso @ref{syntonic comma}. @@ -2937,8 +2935,8 @@ DK: formindsket interval, S: förminskat intervall, FI: vähennetty intervalli. -@seealso +@seealso @ref{interval}. @@ -2954,8 +2952,8 @@ DK: diminuendo, S: diminuendo, FI: diminuendo, hiljentyen. -@seealso +@seealso @ref{decrescendo}. @@ -2973,8 +2971,8 @@ FI: aika-arvojen tihennys. This is a stub for diminution (@emph{wrt} mensural notation). -@seealso +@seealso @ref{augmentation}, @ref{mensural notation}. @@ -2990,8 +2988,8 @@ DK: ?, S: ?, FI: suora. -@seealso +@seealso @ref{custos}. @@ -3019,8 +3017,8 @@ with conjunct movement. fis2 d4. \bar "||" } @end lilypond -@seealso +@seealso @ref{conjunct movement}. @@ -3029,8 +3027,8 @@ with conjunct movement. Another name for @ref{dissonant interval}. -@seealso +@seealso @ref{dissonant interval}, @ref{harmony}. @@ -3046,8 +3044,8 @@ DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi. -@seealso +@seealso @ref{harmony}. @@ -3082,8 +3080,8 @@ section in a long antiphonal or responsorial chant. TODO: musical example here? -@seealso +@seealso None yet. @@ -3102,8 +3100,8 @@ FI: nousu. Indicator for a indeterminately rising pitch bend. Compare with @emph{glissando}, which has determinate starting and ending pitches. -@seealso +@seealso @ref{fall}, @ref{glissando}. @@ -3121,8 +3119,8 @@ FI: dominantti, huippusointu. The fifth @emph{scale degree} in @emph{functional harmony}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}. @@ -3138,8 +3136,8 @@ DK: dominantnoneakkord, S: dominantnonackord, FI: dominanttinoonisointu. -@seealso +@seealso @ref{chord}, @ref{functional harmony}. @@ -3155,8 +3153,8 @@ DK: dominantseptimakkord, S: dominantseptimackord, FI: dominanttiseptimisointu. -@seealso +@seealso @ref{chord}, @ref{functional harmony}. @@ -3172,8 +3170,8 @@ DK: dorisk skala, S: dorisk tonart, FI: doorinen moodi. -@seealso +@seealso @ref{diatonic scale}. @@ -3189,8 +3187,8 @@ DK: punkt, S: punkt, FI: piste. -@seealso +@seealso @ref{dotted note}, @ref{note value}. @@ -3206,8 +3204,8 @@ DK: punkteret node, S: punkterad not, FI: pisteellinen nuotti. -@seealso +@seealso @ref{note value}. @@ -3223,8 +3221,8 @@ DK: dobbelt forslag, S: dubbelslag, FI: kaksoisappogiatura, kaksoisetuhele. -@seealso +@seealso @ref{appoggiatura}. @@ -3242,8 +3240,8 @@ FI: kaksoistahtiviiva. Indicates the end of a section within a movement. -@seealso +@seealso None yet. @@ -3259,8 +3257,8 @@ DK: dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, FI: kaksoispisteellinen nuotti. -@seealso +@seealso @ref{note value}. @@ -3276,8 +3274,8 @@ DK: dob@-belt-b, S: dubbelbe, FI: kaksoisalennusmerkki. -@seealso +@seealso @ref{accidental}. @@ -3293,8 +3291,8 @@ DK: dob@-belt@-kryds, S: dubbelkors, FI: kaksoisylennysmerkki. -@seealso +@seealso @ref{accidental}. @@ -3310,8 +3308,8 @@ DK: ?, S: ?, FI: kaksois-aika-arvomerkintä. -@seealso +@seealso @ref{polymetric time signature}. @@ -3329,8 +3327,8 @@ FI: kaksoistrilli. A simultaneous trill on two notes, usually in the distance of a third. -@seealso +@seealso None yet. @@ -3346,8 +3344,8 @@ DK: todelt takt, S: tvåtakt, FI: kaksoistempo. -@seealso +@seealso @ref{meter}. @@ -3363,8 +3361,8 @@ DK: duol, S: duol, FI: duoli. -@seealso +@seealso @ref{note value}. @@ -3380,8 +3378,8 @@ DK: varighed, S: tonlängd, FI: kesto, aika-arvo. -@seealso +@seealso @ref{note value}. @@ -3401,8 +3399,8 @@ The aspect of music relating to degrees of loudness, or changes from one degree to another. The terms, abbreviations, and symbols used to indicate this information are called dynamic marks. -@seealso +@seealso @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}. @@ -3421,16 +3419,16 @@ indicate this information are called dynamic marks. @item FI: E, e @end itemize -@seealso +@seealso @ref{Pitch names} @node ecclesiastical mode @section ecclesiastical mode -@seealso +@seealso @ref{church mode}, @ref{diatonic scale}. @@ -3449,8 +3447,8 @@ indicate this information are called dynamic marks. @item FI: kahdeksasosanuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -3469,8 +3467,8 @@ indicate this information are called dynamic marks. @item FI: kahdeksasosatauko @end itemize -@seealso +@seealso @ref{note value}. @@ -3495,16 +3493,16 @@ The singing of several syllables on a single note. Elision may be indicated by a lyric tie, which looks like (and serves the same function) as a musical tie. -@seealso +@seealso @ref{lyric tie}. @node embellishment @section embellishment -@seealso +@seealso @ref{ornament}. @@ -3527,8 +3525,8 @@ drafting or engineering drawing, using similar tools. 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. -@seealso +@seealso None yet. @@ -3560,8 +3558,8 @@ names but equal pitch. >> @end lilypond -@seealso +@seealso None yet. @@ -3580,8 +3578,8 @@ FI: tasavireinen. A tuning system that divides the octave into 12 equal semitones (each of which is precisely equal to 100 cents). -@seealso +@seealso @ref{cent}, @ref{semitone}, @ref{temperament}. @@ -3608,8 +3606,8 @@ Performance indications concerning: @end itemize -@seealso +@seealso @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}. @@ -3663,8 +3661,8 @@ by the given number of octaves. @end itemize -@seealso +@seealso @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave marking}. @@ -3683,8 +3681,8 @@ by the given number of octaves. @item FI: F, f @end itemize -@seealso +@seealso @ref{Pitch names} @@ -3733,8 +3731,8 @@ Double Bass). >> @end lilypond -@seealso +@seealso @ref{baritone clef}, @ref{strings}. @@ -3753,8 +3751,8 @@ FI: lasku. Indicator for a indeterminately falling pitch bend. Compare with @emph{glissando}, which has determinate starting and ending pitches. -@seealso +@seealso @ref{doit}, @ref{glissando}. @@ -3775,8 +3773,8 @@ played at an increasing or decreasing tempo -- depending on the direction of @q{feathering} -- but without changing the overall tempo of the piece. -@seealso +@seealso Internals Reference: @ruser{Manual beams} @@ -3803,8 +3801,8 @@ Prolonged note or rest of indefinite duration. } @end lilypond -@seealso +@seealso None yet. @@ -3820,8 +3818,8 @@ DK: kvint, S: kvint, FI: kvintti. -@seealso +@seealso @ref{interval}. @@ -3870,8 +3868,8 @@ TODO: Make the upper clef smaller, since it's usually "realized" in performance. >> @end lilypond -@seealso +@seealso @ref{chord}, @ref{interval}. @@ -3890,8 +3888,8 @@ FI: sormitus. Figures to the side or above the note that methodically indicate which fingers to use while playing a passage. -@seealso +@seealso None yet. @@ -3921,8 +3919,8 @@ than a quarter note. The number of flags determines the note value. } @end lilypond -@seealso +@seealso @ref{note value}. @@ -3951,8 +3949,8 @@ Also: @end itemize -@seealso +@seealso @ref{articulation}, @ref{harmonics}. @@ -3968,16 +3966,16 @@ DK: b, S: beförtecken, FI: alennusmerkki. -@seealso +@seealso @ref{accidental}. @node forefall @section forefall -@seealso +@seealso @ref{appoggiatura}. @@ -4002,8 +4000,8 @@ Abbreviated @notation{@b{f}}. Variants include: @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}). @end itemize -@seealso +@seealso None yet. @@ -4019,8 +4017,8 @@ DK: kvart, S: kvart, FI: kvartti. -@seealso +@seealso @ref{interval}. @@ -4045,8 +4043,8 @@ The specific rules for @q{frenching} a score differ from publisher to publisher. If you are producing scores for eventual publication by a commercial publisher, you may wish to procure a copy of their style manual. -@seealso +@seealso @ref{Frenched staff}. @@ -4066,8 +4064,8 @@ FI: karsittu nuotinnus. Frenched staff has unneeded measures or sections removed. This is useful for producing, for example, an @emph{ossia} staff. -@seealso +@seealso @ref{ossia}. @@ -4089,8 +4087,8 @@ DK: fuga, S: fuga, FI: fuuga. -@seealso +@seealso @ref{counterpoint}. @@ -4127,8 +4125,8 @@ TODO: what does the @q{p} mean in Sp, Dp, Tp? >> @end lilypond -@seealso +@seealso None yet. @@ -4146,8 +4144,8 @@ None yet. @item FI: G, g @end itemize -@seealso +@seealso @ref{Pitch names} @@ -4195,8 +4193,8 @@ part in modern choral scores). >> @end lilypond -@seealso +@seealso None yet. @@ -4214,8 +4212,8 @@ FI: glissando, liukuen. Letting the pitch slide fluently from one note to the other. -@seealso +@seealso None yet. @@ -4234,8 +4232,8 @@ FI: korunuotit. Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar. -@seealso +@seealso @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. @@ -4254,8 +4252,8 @@ FI: kaksoisnuottiviivasto. A combination of two staves with a brace. Usually used for piano music. -@seealso +@seealso @ref{brace}. @@ -4273,16 +4271,16 @@ FI: grave, raskaasti. [Italian] Slow, solemn. -@seealso +@seealso None yet. @node gruppetto @section gruppetto -@seealso +@seealso @ref{turn}. @@ -4304,8 +4302,8 @@ Letter name used for @notation{B natural} in German and Scandinavian usage. In the standard usage of these countries, @notation{B} means @notation{B flat}. -@seealso +@seealso @ref{Pitch names}, @ref{B}. @@ -4323,8 +4321,8 @@ dynamic marks. } @end lilypond -@seealso +@seealso @ref{crescendo}, @ref{decrescendo}. @@ -4343,8 +4341,8 @@ dynamic marks. @item FI: puolinuotti. @end itemize -@seealso +@seealso @ref{note value}. @@ -4363,8 +4361,8 @@ dynamic marks. @item FI: puolitauko. @end itemize -@seealso +@seealso @ref{note value}. @@ -4405,8 +4403,8 @@ A sequence of chords that terminates a musical phrase or section. @end lilypond -@seealso +@seealso @ref{functional harmony}. @@ -4434,8 +4432,8 @@ For instruments of the violin family, there are two types of harmonics: natural harmonics, which are those played on the open string; and artificial harmonics, which are produced on stopped strings. -@seealso +@seealso None yet. @@ -4484,8 +4482,8 @@ Dissonances: For harmony that uses three or more notes, see @ref{chord}. -@seealso +@seealso @ref{chord}. @@ -4529,8 +4527,8 @@ may be thought of having alternating time signatures and is therefore a polymeter (second definition) of considerable antiquity. -@seealso +@seealso @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}. @@ -4549,8 +4547,8 @@ FI: homofonia, yksiäänisyys. Music in which one voice leads melodically supported by the other voices in the same rhythm (more or less). In contrast to @emph{polyphony}. -@seealso +@seealso @ref{polyphony}. @node hymn meter @@ -4590,8 +4588,8 @@ easier reading, a hymn with a meter of 87.87.87.87 is usually written @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.) @end itemize -@seealso +@seealso None yet. @@ -4673,8 +4671,8 @@ intervals forms an octave. >> @end lilypond -@seealso +@seealso @ref{enharmonic}, @ref{whole tone}. @@ -4716,8 +4714,8 @@ marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most unstable chord position. @end table -@seealso +@seealso None yet. @@ -4745,8 +4743,8 @@ The difference between an interval and an octave. } @end lilypond -@seealso +@seealso None yet. @@ -4765,8 +4763,8 @@ FI: puhdas viritys. Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds. -@seealso +@seealso @ref{temperament}. @@ -4785,8 +4783,8 @@ FI: tonaliteetti. According to the 12@w{ }tones of the @emph{chromatic scale} there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc. -@seealso +@seealso @ref{chromatic scale}, @ref{key signature}. @@ -4805,8 +4803,8 @@ FI: sävellajiosoitus. The sharps or flats appearing at the beginning of each staff indicating the key of the music. -@seealso +@seealso @ref{accidental}. @@ -4825,8 +4823,8 @@ FI: antaa väristä. [French: @q{Let vibrate}.] Most frequently associated with harp parts. Marked @notation{l.v.} in the score. -@seealso +@seealso None yet. @@ -4862,8 +4860,8 @@ The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so called because of its strong tendency to @q{lead up} (resolve upwards) to the tonic scale degree. -@seealso +@seealso @ref{scale degree}, @ref{semitone}. @@ -4886,8 +4884,8 @@ A ledger line is an extension of the staff. \relative c'' { a,1 s c'' } @end lilypond -@seealso +@seealso None yet. @@ -4925,24 +4923,24 @@ notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c) >> @end lilypond -@seealso +@seealso @ref{staccato}. @node legato curve @section legato curve -@seealso +@seealso @ref{slur}, @ref{legato}. @node leger line @section leger line -@seealso +@seealso @ref{ledger line}. @@ -4967,8 +4965,8 @@ performance in the sense of articulation. With the invention of the metric system of the white mensural notation, the need for ligatures to denote such patterns disappeared. -@seealso +@seealso @ref{mensural notation}. @@ -4989,8 +4987,8 @@ A pond with lilies floating in it. Also, the name of a music typesetting program. -@seealso +@seealso None yet. @@ -5006,8 +5004,8 @@ DK: nodelinie, S: notlinje, FI: viiva, nuottiviiva. -@seealso +@seealso @ref{staff}. @@ -5026,8 +5024,8 @@ FI: kirjoitetussa äänenkorkeudessa. [Italian: @q{place}.] Instruction to play the following passage at the written pitch. Cancels octave mark (q.v.). -@seealso +@seealso @ref{octave mark}, @ref{octave marking}. @@ -5043,8 +5041,8 @@ DK: langt forslag, S: långt förslag, FI: pitkä appoggiatura, pitkä etuhele. -@seealso +@seealso @ref{appoggiatura}. @@ -5073,8 +5071,8 @@ Note value: double length of @notation{breve}. } @end lilypond -@seealso +@seealso @ref{breve}, @ref{note value}. @@ -5092,8 +5090,8 @@ FI: sidonta sanoituksessa. @c TODO: add languages -@seealso +@seealso @ref{elision}. @@ -5111,8 +5109,8 @@ FI: sanoitus. @c Definition? -@seealso +@seealso None yet. @@ -5128,8 +5126,8 @@ DK: dur, S: dur, FI: duuri. -@seealso +@seealso @ref{diatonic scale}. @@ -5145,8 +5143,8 @@ DK: stort interval, S: stort intervall, FI: suuri intervalli. -@seealso +@seealso @ref{interval}. @@ -5167,8 +5165,8 @@ fifth by 16@w{ }cents. Due to the non-circular character of this temperament only a limited set of keys are playable. Used for tuning keyboard instruments for performance of pre-1650 music. -@seealso +@seealso @ref{cent}, @ref{temperament}. @@ -5188,16 +5186,16 @@ A group of beats (units of musical time) the first of which bears an accent. Such groups in numbers of two or more recur consistently throughout the composition and are separated from each other by bar lines. -@seealso +@seealso @ref{bar line}, @ref{beat}, @ref{meter}. @node measure repeat @section measure repeat -@seealso +@seealso @ref{percent repeat}. @@ -5223,8 +5221,8 @@ mediant (variant tonic). @end itemize -@seealso +@seealso @ref{chord}, @ref{functional harmony}, @ref{relative key}. @@ -5243,8 +5241,8 @@ FI: melisma, laulettavan tavun sävelkuvio. A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung on one syllable, especially as applied to liturgical chant. -@seealso +@seealso None yet. @@ -5262,16 +5260,16 @@ DK: ?, S: ?, FI: melismaviiva. -@seealso +@seealso @ref{extender line}. @node melodic cadence @section melodic cadence -@seealso +@seealso @ref{cadenza}. @@ -5317,8 +5315,8 @@ colored) notes in the earlier notation. ... TODO: add to definition (including summary info on proportional notation) -@seealso +@seealso @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}. @c TODO: more cross-references? @@ -5475,8 +5473,8 @@ Compound quadruple meter (P. Yon, 1886-1943): TODO: add information from discussion on lilypond-user related to polymeter. -@seealso +@seealso @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} @@ -5500,8 +5498,8 @@ divisions, and patented it as a @q{metronome}. The inevitable lawsuit that followed acknowledged Winkler as the creator, but by then Mälzel had already sold many of them, and people had taken to calling it a Mälzel Metronome. -@seealso +@seealso @ref{metronome mark}. @@ -5521,16 +5519,16 @@ Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, @emph{anglice}). -@seealso +@seealso @ref{metronome} @node metronomic indication @section metronomic indication -@seealso +@seealso @ref{metronome mark} @@ -5568,8 +5566,8 @@ Used to qualify other indications, such as: @end itemize -@seealso +@seealso None yet. @@ -5587,8 +5585,8 @@ FI: mezzosopraano. The female voice between soprano and contralto. -@seealso +@seealso @ref{soprano}, @ref{contralto}. @@ -5616,8 +5614,8 @@ First C below the 440 Hz A. } @end lilypond -@seealso +@seealso None yet. @@ -5633,8 +5631,8 @@ DK: mol, S: moll, FI: molli. -@seealso +@seealso @ref{diatonic scale}. @@ -5650,16 +5648,16 @@ DK: lille interval, S: litet intervall, FI: pieni intervalli. -@seealso +@seealso @ref{interval}. @node mixolydian mode @section mixolydian mode -@seealso +@seealso @ref{diatonic scale}. @@ -5675,8 +5673,8 @@ DK: skala, S: modus, skala, FI: moodi, kirkkosävelasteikko. -@seealso +@seealso @ref{church mode}, @ref{diatonic scale}. @@ -5696,8 +5694,8 @@ Moving from one @ref{key} to another. For example, the second subject of a @ref{sonata form} movement modulates to the dominant key if the key is major and to the @ref{relative key} if the key is minor. -@seealso +@seealso None yet. @@ -5712,16 +5710,16 @@ DK: mordent, S: mordent, FI: mordent, korukuvio. -@seealso +@seealso @ref{ornament}. @node motif @section motif -@seealso +@seealso @ref{motive}. @@ -5758,8 +5756,8 @@ theme or subject. } @end lilypond -@seealso +@seealso None yet. @@ -5779,8 +5777,8 @@ Greater musical works like @ref{symphony} and @ref{sonata} most often consist of several -- more or less -- independant pieces called movements. -@seealso +@seealso None yet. @@ -5812,8 +5810,8 @@ German, as a reminiscence of its use in Renaissance vocal polyphony. } @end lilypond -@seealso +@seealso @ref{longa}, @ref{breve}. @@ -5829,16 +5827,16 @@ DK: op@-løsningstegn, S: återställningstecken, FI: palautusmerkki. -@seealso +@seealso @ref{accidental}. @node neighbor tones @section neighbor tones -@seealso +@seealso @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. @@ -5855,16 +5853,16 @@ DK: none, S: nona, FI: nooni. -@seealso +@seealso @ref{interval}. @node non-legato @section non-legato -@seealso +@seealso @ref{legato}. @@ -5886,8 +5884,8 @@ which produces the sound. However, a clear distinction between the terms tone and @ref{note} is strongly recommended. Briefly, one sees a note, and hears a tone. -@seealso +@seealso None yet. @@ -5909,16 +5907,16 @@ hollow or black heads with or without @notation{stems}, @notation{flags}, etc. For percussion instruments (often having no defined pitch) the note head may indicate the instrument. -@seealso +@seealso @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}. @node note names @section note names -@seealso +@seealso @ref{Pitch names} @@ -5999,16 +5997,16 @@ dotted notes are also frequently used. } @end lilypond -@seealso +@seealso None yet. @node octavation @section octavation -@seealso +@seealso @ref{octave marking}. @@ -6029,8 +6027,8 @@ The interval of an octave, sometimes abbreviated @notation{8ve}. For uses like @notation{all'ottava} or @notation{8va} with an extender line or bracket, or @notation{loco} see octave marking. -@seealso +@seealso @ref{interval}, @ref{octave marking}. @@ -6086,8 +6084,8 @@ different octave by putting a small 8 or 15 above or below the clef at the beginning. This octave mark can be applied to any clef, but it is most frequently used with the G and F clefs. -@seealso +@seealso @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. @@ -6110,16 +6108,16 @@ octave. For a list of the specific marks used, see @ref{octave mark}. -@seealso +@seealso @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. @node octave sign @section octave sign -@seealso +@seealso @ref{octave mark}. @@ -6179,8 +6177,8 @@ the >> @end lilypond -@seealso +@seealso @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}. @@ -6200,8 +6198,8 @@ Ossia (otherwise) marks an alternative. It is an added staff or piano score, usually only a few measures long, which presents another version of the music, for example for small hands. -@seealso +@seealso None yet. @@ -6227,24 +6225,24 @@ web. @end itemize -@seealso +@seealso @ref{counterpoint} @node pause @section pause -@seealso +@seealso @ref{fermata}. @node pennant @section pennant -@seealso +@seealso @ref{flag}. @@ -6274,8 +6272,8 @@ pattern to one or more measures. There are other names for this symbol: } @end lilypond -@seealso +@seealso @ref{repeat}, @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of Vermont Music Dictionary}. @@ -6299,8 +6297,8 @@ kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, and xylophone. -@seealso +@seealso None yet. @@ -6316,8 +6314,8 @@ DK: rent interval, S: rent intervall, FI: puhdas intervalli. -@seealso +@seealso @ref{interval}. @@ -6335,8 +6333,8 @@ FI: fraasi, lause. A natural division of the melodic line, comparable to a sentence of speech. -@seealso +@seealso @ref{caesura}. @@ -6355,8 +6353,8 @@ FI: fraseeraus, jäsentäminen. The clear rendering in musical performance of the @notation{phrases} of the melody. Phrasing may be indicated by a @notation{slur}. -@seealso +@seealso @ref{phrase}, @ref{slur}. @@ -6375,8 +6373,8 @@ FI, piano, hiljaa. @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, @emph{mezzo piano} (@b{mp}) medium soft. -@seealso +@seealso None yet. @@ -6392,8 +6390,8 @@ DK: optakt, S: upptakt, FI: kohotahti. -@seealso +@seealso @ref{anacrusis}. @@ -6422,8 +6420,8 @@ association of a particular frequency with a particular pitch name, e.g., c' = @end enumerate -@seealso +@seealso @ref{Pitch names}. @@ -6442,8 +6440,8 @@ FI: pizzicato, näppäillen. A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking the strings. -@seealso +@seealso None yet. @@ -6468,8 +6466,8 @@ parts. @end itemize -@seealso +@seealso @ref{polymetric} (adj.) @@ -6488,8 +6486,8 @@ FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä. Characterized by @emph{polymeter}: using two or more metric frameworks simultaneously or in alternation. -@seealso +@seealso @ref{polymeter} (noun) @@ -6507,8 +6505,8 @@ FI: vaihtelevan tahtiosoitusmerkintä. A time signature that indicates regularly alternating polymetric time. -@seealso +@seealso @ref{polymetric}. @@ -6527,8 +6525,8 @@ FI: polyfonia, moniäänisyys. Music written in a combination of several simultaneous voices (parts) of a more or less pronounced individuality. -@seealso +@seealso @ref{counterpoint}. @@ -6541,8 +6539,8 @@ A stroke in which each of several notes is separated slightly within a slur, without changing the bow's direction. It is used for passages of a @notation{cantabile} character. -@seealso +@seealso @ref{legato}. @@ -6563,8 +6561,8 @@ FI: presto, hyvin nopeasti. Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} denotes the highest possible degree of speed. -@seealso +@seealso None yet. @@ -6667,8 +6665,8 @@ another question: @c TODO: add an example or two. O => 4/3, and its modern equivalent -@seealso +@seealso @ref{mensural notation}. @@ -6693,8 +6691,8 @@ on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher than the C obtained by adding 7 octaves. The difference between those two pitches is the Pythagorean comma. -@seealso +@seealso @ref{cent}, @ref{temperament}. @@ -6710,8 +6708,8 @@ DK: kvartol, S: kvartol, FI: kvartoli. -@seealso +@seealso @ref{note value}. @@ -6760,8 +6758,8 @@ indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, and D^m7 are all identical). The last three chords are not commonly used except in jazz. -@seealso +@seealso @ref{chord}. @@ -6780,8 +6778,8 @@ except in jazz. @item FI: neljäsosanuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -6800,8 +6798,8 @@ except in jazz. @item FI: neljäsosatauko @end itemize -@seealso +@seealso @ref{note value}. @@ -6819,8 +6817,8 @@ FI: neljännessävelaskel. An interval equal to half a semitone. -@seealso +@seealso @ref{interval} @@ -6836,8 +6834,8 @@ DK: kvintol, S: kvintol, FI: kvintoli. -@seealso +@seealso @ref{note value}. @@ -6855,8 +6853,8 @@ FI: rallerdando, hidastuen. [Italian] A performance indication, abbreviated "rall.". -@seealso +@seealso @ref{ritardando}. @@ -6893,8 +6891,8 @@ Major and minor keys that have the same key signature. } @end lilypond -@seealso +@seealso @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}. @@ -6918,8 +6916,8 @@ FI: toisto. } @end lilypond -@seealso +@seealso None yet. @@ -6938,8 +6936,8 @@ FI: tauko. @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to @c specify the rest's value. -@seealso +@seealso @ref{note value}. @@ -6971,8 +6969,8 @@ metrical unit (beat). @end itemize -@seealso +@seealso None yet. @@ -6990,8 +6988,8 @@ FI: ritardando, hidastuen, Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. -@seealso +@seealso None yet. @@ -7009,8 +7007,8 @@ FI: ritenuto, hidastaen. Immediate reduction of speed. -@seealso +@seealso None yet. @@ -7026,8 +7024,8 @@ DK: Skala, S: skala, FI: asteikko, sävelasteikko. -@seealso +@seealso @ref{diatonic scale}. @@ -7060,8 +7058,8 @@ scale as roots of chords. The most important are degrees I = tonic >> @end lilypond -@seealso +@seealso @ref{functional harmony}. @@ -7101,8 +7099,8 @@ available on open strings Tunings that could be called @var{scordatura} first appeared early in the 16th Century and became commonplace in the 17th. -@seealso +@seealso None yet. @@ -7122,8 +7120,8 @@ A copy of orchestral, choral, or chamber music showing what each instrument is to play, each voice to sing, having each part arranged one underneath the other on different staves @ref{staff}. -@seealso +@seealso None yet. @@ -7144,8 +7142,8 @@ The @ref{interval} between two neigbouring tones of a scale. A @ref{whole tone}s, hence the size of a se@-cond depends on the scale degrees in question. -@seealso +@seealso None yet. @@ -7171,8 +7169,8 @@ be divided into 12@w{ }semitones. \relative c'' { g1 gis s a bes s b! c } @end lilypond -@seealso +@seealso @ref{interval}, @ref{chromatic scale}. @@ -7188,16 +7186,16 @@ DK: septim, S: septim, FI: septimi. -@seealso +@seealso @ref{interval}. @node sextolet @section sextolet -@seealso +@seealso @ref{sextuplet}, @ref{note value}. @@ -7213,16 +7211,16 @@ DK: sekstol, S: sextol, FI: sekstoli. -@seealso +@seealso @ref{note value}. @node shake @section shake -@seealso +@seealso @ref{trill}. @@ -7238,8 +7236,8 @@ DK: kryds, S: kors@-förtecken, FI: korotusmerkki. -@seealso +@seealso @ref{accidental}. @@ -7259,8 +7257,8 @@ FI: samoin. is to be played in the same manner (i.e. with the same articulations, dynamics, etc.) as the music that precedes it. -@seealso +@seealso TODO: Where else could I refer the reader? @@ -7279,8 +7277,8 @@ FI: kaksijakoinen tahtiosoitus. A meter in which the basic beat is subdivided in two: that is, a meter that does not include triplet subdivision of the beat. -@seealso +@seealso @ref{compound meter}, @ref{meter}. @@ -7299,8 +7297,8 @@ that does not include triplet subdivision of the beat. @item FI: kuudestoistaosanuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -7319,8 +7317,8 @@ that does not include triplet subdivision of the beat. @item FI: kuudestoistaosatauko @end itemize -@seealso +@seealso @ref{note value}. @@ -7336,8 +7334,8 @@ DK: sekst, S: sext, FI: seksti. -@seealso +@seealso @ref{interval}. @@ -7356,8 +7354,8 @@ FI: seksti. @item FI: kuudeskymmenesneljäsosanuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -7376,16 +7374,16 @@ FI: seksti. @item FI: kuudeskymmenesneljäsosatauko @end itemize -@seealso +@seealso @ref{note value}. @node slash repeat @section slash repeat -@seealso +@seealso @ref{percent repeat}. @@ -7405,8 +7403,8 @@ A slur above or below a group of notes indicates that they are to be played @ref{legato}, e.g., with one stroke of the violin bow or with one breath in singing. -@seealso +@seealso None yet. @@ -7427,8 +7425,8 @@ General term for systems of designating the degrees of the @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si} (@emph{ti})). -@seealso +@seealso @ref{scale}, @ref{scale degree}. @@ -7449,8 +7447,8 @@ composition for piano or for some other instrument with piano accompaniment, which consists of three or four independant pieces, called movements. -@seealso +@seealso None yet. @@ -7479,8 +7477,8 @@ of these two. The second theme is in another key, normally in the key of the @notation{dominant} if the @notation{tonic} is @notation{major}, and in the @notation{relative key} if the tonic is @notation{minor}. -@seealso +@seealso @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata}, @ref{symphony}, @ref{tonic}. @@ -7488,8 +7486,8 @@ of these two. The second theme is in another key, normally in the key of the @node song texts @section song texts -@seealso +@seealso @ref{lyrics}. @@ -7507,8 +7505,8 @@ FI: sopraano, korkea naisääni. The highest female voice. -@seealso +@seealso None yet. @@ -7537,8 +7535,8 @@ below the note head. } @end lilypond -@seealso +@seealso None yet. @@ -7559,16 +7557,16 @@ lines upon and between which the musical notes are written, thus indicating (in connection with a @ref{clef}) their pitch. Staves for @ref{percussion} instruments may have fewer lines. -@seealso +@seealso None yet. @node staves @section staves -@seealso +@seealso @ref{staff}. @@ -7601,8 +7599,8 @@ whole note. } @end lilypond -@seealso +@seealso None yet. @@ -7621,8 +7619,8 @@ FI: kiihdyttäen, nopeuttaen. [Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a climax. -@seealso +@seealso @ref{accelerando}. @@ -7642,8 +7640,8 @@ A family of stringed musical instruments played with a bow. Strings commonly used in a symphony orchestra are violin, viola, violoncello, and double bass. -@seealso +@seealso None yet. @@ -7659,8 +7657,8 @@ D: betonet taktslag, S: betonat taktslag, FI: tahdin vahva isku. -@seealso +@seealso @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}. @@ -7678,8 +7676,8 @@ FI: subdominantti, alidominantti. The fourth @notation{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}. @@ -7697,8 +7695,8 @@ FI: alikeskisävel. The sixth @notation{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}. @@ -7716,8 +7714,8 @@ FI: subtoonika, alitoonika. The seventh @ref{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}. @@ -7736,8 +7734,8 @@ FI: G-kielellä. Indicates that the indicated passage (or note) should be played on the G string. -@seealso +@seealso None yet. @@ -7755,8 +7753,8 @@ FI: ylidominantti. The sixth @ref{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}, @ref{submediant}. @@ -7774,8 +7772,8 @@ FI: ylitoonika. The second @ref{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}. @@ -7793,8 +7791,8 @@ FI: sinfonia. A symphony may be defined as a @emph{sonata} for orchestra. -@seealso +@seealso @ref{sonata}. @@ -7828,8 +7826,8 @@ contradiction between the underlaying (normal) pulse and the actual } @end lilypond -@seealso +@seealso None yet. @@ -7855,8 +7853,8 @@ the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4) This comma is also known as the comma of Didymus, or didymic comma. -@seealso +@seealso @ref{Pythagorean comma} @@ -7875,8 +7873,8 @@ FI: nuottijärjestelmä. The collection of staves (@notation{staff}), two or more, as used for writing down of keyboard, chamber, choral, or orchestral music. -@seealso +@seealso @ref{staff}. @@ -7895,8 +7893,8 @@ FI: viritysjärjestelmä. Systems of tuning in which the intervals deviate from the acoustically pure intervals. -@seealso +@seealso @ref{meantone temperament}, @ref{equal temperament}. @@ -7917,8 +7915,8 @@ slowest to the quickest, as is indicated by tempo marks as @notation{largo}, @notation{adagio}, @notation{andante}, @notation{allegro}, and @notation{presto}. -@seealso +@seealso @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}. @@ -7937,8 +7935,8 @@ FI: tenori, korkea miesääni. The highest @q{natural} male voice (apart from @notation{countertenor}). -@seealso +@seealso @ref{countertenor}. @@ -7954,8 +7952,8 @@ DK: decim, S: decima, FI: desimi. -@seealso +@seealso @ref{note value}. @@ -7974,8 +7972,8 @@ FI: viiva, tenuto. An indication that a particular note should be held for the whole length, although this can vary depending on the composer and era. -@seealso +@seealso None yet. @@ -7991,8 +7989,8 @@ DK: terts, S: ters, FI: terssi. -@seealso +@seealso @ref{interval}. @@ -8011,8 +8009,8 @@ FI: terssi. @item FI: kolmaskymmeneskahdesosanuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -8031,16 +8029,16 @@ FI: terssi. @item FI: kolmaskymmeneskahdesosatauko @end itemize -@seealso +@seealso @ref{note value}. @node thorough bass @section thorough bass -@seealso +@seealso @ref{figured bass}. @@ -8070,8 +8068,8 @@ combined durations. @node time @section time -@seealso +@seealso @ref{meter}. @@ -8091,8 +8089,8 @@ The sign placed at the beginning of a composition to indicate its meter. It most often takes the form of a fraction, but a few signs derived from mensural notation and proportions are also employed. -@seealso +@seealso @ref{mensural notation}, @ref{meter}. @@ -8113,8 +8111,8 @@ Tone is a primary building material of music. @c Music from the 20th century may be based on atonal sounds. Meh, not so much -@seealso +@seealso None yet. @@ -8132,8 +8130,8 @@ FI: toonika. The first @notation{scale degree}. -@seealso +@seealso @ref{functional harmony}, @ref{scale degree}. @@ -8170,8 +8168,8 @@ Not all transposing instruments include the pitch class in their name: @end itemize -@seealso +@seealso @ref{concert pitch}. @@ -8210,8 +8208,8 @@ relative pitches. } @end lilypond -@seealso +@seealso None yet. @@ -8227,8 +8225,8 @@ DK: diskantnøgle, S: diskantklav, FI: diskanttiavain. -@seealso +@seealso @ref{G clef}. @@ -8266,8 +8264,8 @@ in the distance of a third (@ref{interval}). } @end lilypond -@seealso +@seealso @ref{strings} @@ -8283,8 +8281,8 @@ DK: treklang, S: treklang, FI: kolmisointu. -@seealso +@seealso @ref{chord}. @@ -8300,8 +8298,8 @@ DK: trille, S: drill, FI: trilli. -@seealso +@seealso @ref{ornament}. @@ -8317,8 +8315,8 @@ DK: tredelt takt, S: tretakt, FI: kolmijakoinen. -@seealso +@seealso @ref{meter}. @@ -8334,8 +8332,8 @@ DK: triol, S: triol, FI: trioli. -@seealso +@seealso @ref{note value}. @@ -8351,8 +8349,8 @@ DK: tritonus, S: tritonus, FI: tritonus. -@seealso +@seealso @ref{interval}. @@ -8372,8 +8370,8 @@ A two-pronged piece of steel used to indicate an absolute pitch, usually for @emph{A} above middle C (440 cps/Hz), which is the international tuning standard. Tuning forks for other pitches are available. -@seealso +@seealso @ref{middle C}. @@ -8384,8 +8382,8 @@ A non-standard subdivision of a beat or part of a beat, usually indicated with a bracket and a number indicating the number of subdivisions. -@seealso +@seealso @ref{triplet}, @ref{note value}. @@ -8401,8 +8399,8 @@ DK: dobbeltslag, S: dubbelslag, FI: korukuvio. -@seealso +@seealso @ref{ornament}. @@ -8422,8 +8420,8 @@ Playing of the same notes or the same melody by various instruments (voices) or by the whole orchestra (choir), either at exactly the same pitch or in a different octave. -@seealso +@seealso None yet. @@ -8439,8 +8437,8 @@ DK: optakt, S: upptakt, FI: kohotahti. -@seealso +@seealso @ref{anacrusis} @@ -8473,8 +8471,8 @@ FI: ääni, lauluääni. @end itemize -@seealso +@seealso None yet. @@ -8494,8 +8492,8 @@ FI: yksi kertauksen maaleista. or second ending. LilyPond extends this idea to any number, and allows any text (not just a number) -- to serve as the @notation{volta} text. -@seealso +@seealso None yet. @@ -8511,8 +8509,8 @@ DK: ubetonet taktslag, S: obetonat taktslag, FI: tahdin heikko isku. -@seealso +@seealso @ref{beat}, @ref{measure}, @ref{rhythm}. @@ -8531,8 +8529,8 @@ FI: tahdin heikko isku. @item FI: kokonuotti @end itemize -@seealso +@seealso @ref{note value}. @@ -8551,8 +8549,8 @@ FI: tahdin heikko isku. @item FI: kokotauko @end itemize -@seealso +@seealso @ref{note value}. @@ -8572,8 +8570,8 @@ The interval of a major second. The interval between two tones on the piano keyboard with exactly one key between them -- including black and white keys -- is a whole tone. -@seealso +@seealso @ref{interval}. @@ -8594,8 +8592,8 @@ instruments are actually made from metal. The woodwind instruments commonly used in a symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. -@seealso +@seealso None yet. @@ -8958,8 +8956,8 @@ the lilypond-user discussion list. @end multitable -@seealso +@seealso @ref{mensural notation} diff --git a/Documentation/user/percussion.itely b/Documentation/user/percussion.itely index 5cbedb61b3..02c1ba68f8 100644 --- a/Documentation/user/percussion.itely +++ b/Documentation/user/percussion.itely @@ -47,8 +47,8 @@ discussed in @ref{Showing melody rhythms}, and @end itemize -@seealso +@seealso Notation Reference: @ref{Showing melody rhythms}, @ref{Instantiating new staves}. @@ -96,8 +96,8 @@ contex, but other clefs may also be used. There are a few issues concerning MIDI support for percussion instruments; for details please see @ref{Percussion in MIDI}. -@seealso +@seealso Notation Reference: @ref{Percussion in MIDI}, @ref{Percussion notes}. File: @file{ly/@/drumpitch@/-init@/.ly} @@ -138,8 +138,8 @@ overridden to achieve a pleasing baseline. } @end lilypond -@seealso +@seealso Snippets: @rlsr{Percussion}. @@ -150,8 +150,8 @@ Certain pitched percussion instruments (e.g. xylophone, vibraphone, and timpani) are written using normal staves. This is covered in other sections of the manual. -@seealso +@seealso @c TODO: possibly link to an alternate section of NR 3.5, if @c "percussion in MIDI" gets a separate subsubsection for @c pitched percussion sounds. -gp @@ -548,14 +548,13 @@ drumsB = { } @end lilypond -@seealso +@seealso Snippets: @rlsr{Percussion}. Internals Reference: @rinternals{DrumStaff}, @rinternals{DrumVoice}. - @c TODO: check name -gp @node Ghost notes @unnumberedsubsubsec Ghost notes @@ -591,6 +590,6 @@ However, the default @code{\drummode} does not include the Also note that you must add chords (@code{< >} brackets) around each @code{\parenthesize} statement. -@seealso +@seealso Snippets: @rlsr{Percussion}. diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 9945a8a1ce..977ac59fe3 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -79,8 +79,8 @@ c, c,, e, g d,, d, d c @end lilypond -@seealso +@seealso Music Glossary: @rglos{Pitch names}. @@ -202,7 +202,6 @@ that each interval contains. @seealso - Music Glossary: @rglos{fifth}, @rglos{interval}, @@ -224,6 +223,7 @@ Internals Reference: @funindex \chordmode @funindex \relative + @knownissues The relative conversion will not affect @code{\transpose}, @@ -339,8 +339,8 @@ cis @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {makam-example.ly} -@seealso +@seealso Music Glossary: @rglos{sharp}, @rglos{flat}, @@ -507,7 +507,6 @@ languages, no special names have been defined yet. @seealso - Music Glossary: @rglos{Pitch names}. @@ -589,7 +588,6 @@ checks fail, but the second one does not fail. @seealso - Snippets: @rlsr{Pitches}. @@ -710,7 +708,6 @@ see @ref{Instrument transpositions}. @seealso - Notation Reference: @ref{Instrument transpositions}. @@ -720,6 +717,7 @@ Snippets: Internals Reference: @rinternals{TransposedMusic}. + @funindex \transpose @funindex \chordmode @funindex \relative @@ -851,7 +849,6 @@ c2 c @seealso - Notation Reference: @ref{Mensural clefs}, @ref{Gregorian clefs}. @@ -933,7 +930,6 @@ fis @seealso - Music Glossary: @rglos{church mode}, @rglos{scordatura}. @@ -986,7 +982,6 @@ The @code{ottava} function also takes -1 (for 8va bassa), @seealso - Music Glossary: @rglos{octavation}. @@ -999,7 +994,6 @@ Internals Reference: @rinternals{ottava-bracket-interface}. - @node Instrument transpositions @unnumberedsubsubsec Instrument transpositions @@ -1082,7 +1076,6 @@ c2 g @seealso - Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}. @@ -2054,7 +2047,6 @@ musicB = { @seealso - Snippets: @rlsr{Pitches}. @@ -2129,7 +2121,6 @@ printed if they are not part of the key signature. @seealso - Music Glossary: @rglos{ambitus}. @@ -2204,8 +2195,8 @@ inside chords: @noindent To see all note head styles, see @ref{Note head styles}. -@seealso +@seealso Snippets: @rlsr{Pitches}. @@ -2262,7 +2253,6 @@ font, see @ref{Setting the staff size}. @seealso - Notation Reference: @ref{Setting the staff size}. @@ -2321,8 +2311,8 @@ base of the scale is determined by the @code{\key} command. @noindent To see all note head styles, see @ref{Note head styles}. -@seealso +@seealso Snippets: @rlsr{Pitches}. @@ -2372,7 +2362,6 @@ rhythm. Such note heads can be created: @seealso - Snippets: @rlsr{Pitches}. diff --git a/Documentation/user/policy.txt b/Documentation/user/policy.txt index 5e177e0766..0460e7ad3b 100644 --- a/Documentation/user/policy.txt +++ b/Documentation/user/policy.txt @@ -127,6 +127,9 @@ main docs Any new concepts or links which require an explanation should go as a full sentence(s) in the main text. + Don't insert an empty line between @seealso and the first entry! + Otherwise there is excessive vertical space in the PDF output. + * To create links, use @ref{} if the link is within the same manual. diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely index 21efda6142..ed966cd1c8 100644 --- a/Documentation/user/repeats.itely +++ b/Documentation/user/repeats.itely @@ -168,7 +168,6 @@ c1 @seealso - Music Glossary: @rglos{repeat}, @rglos{volta}. Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}. @@ -179,6 +178,7 @@ Internals Reference: @rinternals{VoltaBracket}, @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic}, @rinternals{UnfoldedRepeatedMusic}. + @knownissues @cindex repeat, ambiguous @@ -313,8 +313,8 @@ voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {printing-a-repeat-sign-at-the-beginning-of-a-piece.ly} -@seealso +@seealso Notation Reference: @ref{Bar lines}, @ref{Formatting text}. @@ -372,13 +372,14 @@ c1 c1 @end lilypond -@seealso +@seealso Snippets: @rlsr{Repeats}. Internals Reference: @rinternals{RepeatedMusic}, @rinternals{UnfoldedRepeatedMusic}. + @node Short repeats @subsection Short repeats @@ -430,8 +431,8 @@ where @var{musicexpr} is a music expression. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {isolated-percent-repeats.ly} -@seealso +@seealso Music Glossary: @rglos{percent repeat}, @rglos{simile}. Snippets: @rlsr{Repeats}. @@ -441,6 +442,7 @@ Internals Reference: @rinternals{RepeatSlash}, @rinternals{DoublePercentRepeatCounter}, @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}. + @knownissues Only three kinds of percent repeats are supported: a single slash @@ -513,8 +515,8 @@ c2:8 c:32 c: c: @end lilypond -@seealso +@seealso Snippets: @rlsr{Repeats}. @cindex tremolo, cross-staff diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely index 85a43d2ce6..435210b4a6 100644 --- a/Documentation/user/rhythms.itely +++ b/Documentation/user/rhythms.itely @@ -128,7 +128,6 @@ see @ref{Direction and placement}. @seealso - Music Glossary: @rglos{breve}, @rglos{longa}, @@ -234,8 +233,8 @@ see @ref{Scaling durations}. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {permitting-line-breaks-within-beamed-tuplets.ly} -@seealso +@seealso Music Glossary: @rglos{triplet}, @rglos{tuplet}, @@ -257,6 +256,7 @@ Internals Reference: @rinternals{TupletNumber}, @rinternals{TimeScaledMusic}. + @knownissues @cindex grace notes within tuplet brackets When the first note on a staff is a grace note followed by a @@ -329,7 +329,6 @@ notation, see @ref{Polymetric notation}. @seealso - Notation Reference: @ref{Tuplets}, @ref{Invisible rests}, @@ -459,7 +458,6 @@ commands. @seealso - Music Glossary: @rglos{tie}, @rglos{laissez vibrer}. @@ -561,7 +559,6 @@ a4\rest d4\rest @seealso - Notation Reference: @ref{Full measure rests}. @@ -634,8 +631,8 @@ any kind. \skip 1 \skip1 \skip 1 @end lilypond -@seealso +@seealso Snippets: @rlsr{Rhythms}. @@ -784,8 +781,8 @@ setting, resulting bar-check warnings may not be displayed. @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {multi--measure-rest-markup.ly} -@seealso +@seealso Music Glossary: @rglos{multi-measure rest}. @@ -910,7 +907,6 @@ Mensural time signatures are covered in @seealso - Music Glossary: @rglos{time signature} @@ -972,8 +968,8 @@ that this is set to a negative number by the @code{\partial} command: i.e., @code{\partial 4} is internally translated to @code{-4}, meaning @qq{there is a quarter note left in the measure.} -@seealso +@seealso Music Glossary: @rglos{anacrusis}. @@ -986,6 +982,7 @@ Snippets: Internal Reference: @rinternals{Timing_translator}. + @knownissues The @code{\partial} command is intended to be used only at the @@ -1039,7 +1036,6 @@ d4 e d c @seealso - Music Glossary: @rglos{cadenza}. @@ -1049,6 +1045,7 @@ Notation Reference: Snippets: @rlsr{Rhythms}. + @knownissues LilyPond will insert line breaks and page breaks only at a @@ -1171,7 +1168,6 @@ moving the @code{Timing_translator} and the @seealso - Music Glossary: @rglos{polymetric}, @rglos{polymetric time signature}, @@ -1190,6 +1186,7 @@ Internals Reference: @rinternals{Default_bar_line_engraver}, @rinternals{Staff}. + @knownissues When using different time signatures in parallel, notes @@ -1225,8 +1222,8 @@ inserts ties. One of its uses is to debug complex scores: if the measures are not entirely filled, then the ties show exactly how much each measure is off. -@seealso +@seealso Music Glossary: @rglos{tie} Learning Manual: @@ -1315,8 +1312,8 @@ be done with the @code{Pitch_squash_engraver} and @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {guitar-strum-rhythms.ly} -@seealso +@seealso Snippets: @rlsr{Rhythms}. @@ -1324,6 +1321,7 @@ Internals Reference: @rinternals{RhythmicStaff}, @rinternals{Pitch_squash_engraver}. + @node Beams @subsection Beams @@ -1397,8 +1395,8 @@ c16 c8 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {changing-beam-knee-gap.ly} -@seealso +@seealso Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}. @@ -1713,8 +1711,8 @@ The same holds for polyphonic voices, entered with @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an automatic beam is still accepting notes, it is not typeset. -@seealso +@seealso Snippets: @rlsr{Rhythms}. @@ -1828,13 +1826,12 @@ note durations only approximately, but the MIDI output is exact. The @code{\featherDurations} command only works with very short music snippets, and when numbers in the fraction are small. -@seealso +@seealso Snippets: @rlsr{Rhythms}. - @node Bars @subsection Bars @@ -1982,8 +1979,8 @@ The default bar type used for automatically inserted bar lines is @code{"|"}. This may be changed at any time with @code{\set Timing.defaultBarType = }@var{bartype}. -@seealso +@seealso Notation Reference: @ref{Line breaking}, @ref{Repeats}, @@ -2131,7 +2128,6 @@ Bar numbers can be removed entirely by removing the @seealso - Snippets: @rlsr{Rhythms}. @@ -2233,8 +2229,8 @@ are entering from. This can be checked with will print a warning if the @code{currentBarNumber} is not 123 when it is processed. -@seealso +@seealso Snippets: @rlsr{Rhythms}. @@ -2342,8 +2338,8 @@ printed with @code{\musicglyph}. For common tweaks to the positioning of rehearsal marks, see @ref{Formatting text}. -@seealso +@seealso Notation Reference: @ref{The Feta font}, @ref{Formatting text}. @@ -2359,6 +2355,7 @@ Snippets: Internals Reference: @rinternals{RehearsalMark}. + @node Special rhythmic concerns @subsection Special rhythmic concerns @@ -2537,7 +2534,6 @@ in other staves: @seealso - Music Glossary: @rglos{grace notes}, @rglos{acciaccatura}, @@ -2618,8 +2614,8 @@ MyCadenza = \relative c' { >> @end lilypond -@seealso +@seealso Music Glossary: @rglos{cadenza}. @@ -2700,7 +2696,6 @@ notes. @seealso - This manual: @ref{Bar numbers}, @ref{Unmetered music} Snippets: diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index 66affc3cea..387de711a2 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -63,8 +63,8 @@ pitch is the @emph{first} pitch of the preceding chord. For more information about chords, see @ref{Chord notation}. -@seealso +@seealso Music Glossary: @rglos{chord}. @@ -77,6 +77,7 @@ Notation Reference: Snippets: @rlsr{Simultaneous notes}. + @node Simultaneous expressions @unnumberedsubsubsec Simultaneous expressions @@ -137,8 +138,8 @@ Ordinary notes and clusters can be put together in the same staff, even simultaneously. In such a case no attempt is made to automatically avoid collisions between ordinary notes and clusters. -@seealso +@seealso Music Glossary: @rglos{cluster}. @@ -150,6 +151,7 @@ Internals Reference: @rinternals{ClusterSpannerBeacon}, @rinternals{Cluster_spanner_engraver}. + @knownissues Clusters look good only if they span at least two chords; otherwise @@ -333,7 +335,6 @@ music do not have the same rhythm. @seealso - Learning Manual: @rlearning{Voices contain music}, @rlearning{Explicitly instantiating voices}. @@ -387,7 +388,6 @@ standard presentation. @seealso - Learning Manual: @rlearning{I'm hearing Voices}, @rlearning{Other sources of information}. @@ -550,8 +550,8 @@ Notes are only merged if they have opposing stem directions (e.g. in @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {forcing-horizontal-shift-of-notes.ly} -@seealso +@seealso Music Glossary: @rglos{polyphony}. @@ -568,6 +568,7 @@ Internals Reference: @rinternals{NoteCollision}, @rinternals{RestCollision}. + @knownissues When using @code{\mergeDifferentlyHeadedOn} with an upstem eighth @@ -674,8 +675,8 @@ has no effect on the pitches of @var{musicexpr1} and @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing-partcombine-texts.ly} -@seealso +@seealso Music Glossary: @rglos{a due}, @rglos{part}. @@ -690,6 +691,7 @@ Internals Reference: @rinternals{PartCombineMusic}, @rinternals{Voice}. + @knownissues @code{\partcombine} can only accept two voices. @@ -826,8 +828,8 @@ global = { } @end lilypond -@seealso +@seealso Learning Manual: @rlearning{Organizing pieces with variables}. diff --git a/Documentation/user/spacing.itely b/Documentation/user/spacing.itely index f76196e0b3..f19e9359c2 100644 --- a/Documentation/user/spacing.itely +++ b/Documentation/user/spacing.itely @@ -162,7 +162,6 @@ the variables. @seealso - Installed Files: @file{scm/@/paper@/.scm}. @@ -350,7 +349,6 @@ page given the system to put on it. @seealso - Notation Reference: @ref{Vertical spacing between systems}. @@ -414,7 +412,6 @@ first system. Default: @code{0}, as determined by @seealso - Snippets: @rlsr{Spacing}. @@ -595,7 +592,6 @@ Default: unset. @seealso - Snippets: @rlsr{Spacing}. @@ -718,7 +714,6 @@ staves. The sizes of individual staves are relative to the global size. @seealso - Notation Reference: @ref{Selecting notation font size}. @@ -756,7 +751,6 @@ layout. @seealso - Notation Reference: @ref{Changing context default settings}. @@ -858,7 +852,6 @@ complicated. More details are available in @seealso - Internals Reference: @rinternals{LineBreakEvent}. @@ -977,7 +970,6 @@ book parts. @seealso - Snippets: @rlsr{Spacing}. @@ -994,7 +986,6 @@ cramping and stretching, both horizontally and vertically. Unlike @seealso - Snippets: @rlsr{Spacing}. @@ -1076,7 +1067,6 @@ top-level markups. @seealso - Snippets: @rlsr{Spacing}. @@ -1106,7 +1096,6 @@ too slow or memory demanding, or a lot of texts. It is enabled using: @seealso - Snippets: @rlsr{Spacing}. @@ -1155,7 +1144,6 @@ page breaks at explicit @code{\pageBreak} commands and nowhere else. @seealso - Snippets: @rlsr{Spacing}. @@ -1239,7 +1227,6 @@ This pattern becomes especially helpful when overriding @seealso - Notation Reference: @ref{Vertical spacing}. @@ -1371,7 +1358,6 @@ the @code{Axis_group_engraver}. @seealso - Snippets: @rlsr{Spacing}. @@ -1436,7 +1422,6 @@ the last one. @seealso - Snippets: @rlsr{Spacing}. @@ -1670,7 +1655,6 @@ passed to these different settings will avoid this. @seealso - Snippets: @rlsr{Spacing}. @@ -1735,7 +1719,6 @@ lilypond .ly @seealso - Snippets: @rlsr{Spacing}. @@ -1818,7 +1801,6 @@ c''2 @seealso - Snippets: @rlsr{Spacing}. @@ -1927,7 +1909,6 @@ Proportional notation is supported; see @ref{Proportional notation}. @seealso - Snippets: @rlsr{Spacing}. @@ -1974,7 +1955,6 @@ may be used in that location. @seealso - Snippets: @rlsr{Spacing}. @@ -2061,7 +2041,6 @@ regard for clefs, bar lines, and grace notes, @seealso - Snippets: @rlsr{Spacing}. @@ -2114,7 +2093,6 @@ paragraph, the last line simply takes its natural horizontal length. @seealso - Snippets: @rlsr{Spacing}. @@ -2463,7 +2441,6 @@ for these related settings. @seealso - Notation Reference: @ref{New spacing area}. @@ -2521,7 +2498,6 @@ interval. @seealso - Snippets: @rlsr{Spacing}. @@ -2626,7 +2602,6 @@ block so that it applies to the whole score. @seealso - Notation Reference: @ref{Page formatting}, @ref{Changing horizontal spacing}. diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely index 835e0889e5..3791eacb71 100644 --- a/Documentation/user/staff.itely +++ b/Documentation/user/staff.itely @@ -105,7 +105,6 @@ New single staff contexts may be defined. For details, see @seealso - Music Glossary: @rglos{staff}, @rglos{staves}. @@ -238,7 +237,6 @@ New staff group contexts may be defined. For details, see @seealso - Music Glossary: @rglos{brace}, @rglos{bracket}, @@ -305,7 +303,6 @@ New nested staff group contexts can be defined. For details, see @seealso - Notation Reference: @ref{Grouping staves}, @ref{Instrument names}, @@ -455,7 +452,6 @@ e4 d c2 @seealso - Music Glossary: @rglos{line}, @rglos{ledger line}, @@ -622,7 +618,6 @@ more information about @code{\RemoveEmptyStaffContext}, see @seealso - Music Glossary: @rglos{ossia}, @rglos{staff}, @@ -728,7 +723,6 @@ hide empty staves in ancient music contexts. Similarly, @seealso - Music Glossary: @rglos{Frenched staff}. @@ -843,7 +837,6 @@ For more details, see @ref{Formatting text}. @seealso - Music Glossary: @rglos{metronome}, @rglos{metronomic indication}, @@ -1002,7 +995,6 @@ expression to declare the instrument switch: @seealso - Notation Reference: @ref{Horizontal dimensions}, @ref{Modifying context plug-ins}. @@ -1113,7 +1105,6 @@ see @ref{Using tags}. @seealso - Notation Reference: @ref{Instrument transpositions}, @ref{Using tags}. @@ -1267,7 +1258,6 @@ see @ref{Using tags}. @seealso - Notation Reference: @ref{Instrument transpositions}, @ref{Instrument names}, diff --git a/Documentation/user/text.itely b/Documentation/user/text.itely index dd18348bca..adcdb66883 100644 --- a/Documentation/user/text.itely +++ b/Documentation/user/text.itely @@ -94,7 +94,6 @@ a4_"scherzando" f @seealso - Notation Reference: @ref{Formatting text}, @ref{Direction and placement}. @@ -105,6 +104,7 @@ Snippets: Internals Reference: @rinternals{TextScript}. + @knownissues Checking to make sure that text scripts and lyrics are within the @@ -162,7 +162,6 @@ object property. This syntax is described in @ref{Line styles}. @seealso - Notation Reference: @ref{Line styles}, @ref{Dynamics}. @@ -242,8 +241,8 @@ c c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {printing-marks-on-every-staff.ly} -@seealso +@seealso Notation Reference: @ref{Rehearsal marks}, @ref{Formatting text}, @@ -256,6 +255,7 @@ Snippets: Internals Reference: @rinternals{RehearsalMark}. + @knownissues @c To be removed when Issue 69 in the tracker gets fixed. -vv @@ -320,8 +320,8 @@ requires, are described in @ref{Multi-page markup}. TODO: add convenient snippets in input/new -vv @end ignore -@seealso +@seealso Notation Reference: @ref{Formatting text}, @ref{File structure}, @ref{Multiple scores in a book}, @@ -435,7 +435,6 @@ An exhaustive list of @code{\markup}-specific commands can be found in @seealso - Notation Reference: @ref{Text markup commands}. @@ -828,6 +827,7 @@ the following example. An exhaustive list of text alignment commands can be found in @ref{Align}. + @seealso Learning Manual: @rlearning{Moving objects}. @@ -986,6 +986,7 @@ c An exhaustive list of graphics-specific commands can be found in @ref{Graphic}. + @seealso Notation Reference: @ref{Graphic}, @@ -1000,6 +1001,7 @@ Installed files: @file{scm/@/define@/-markup@/-commands@/.scm}, @file{scm/@/stencil@/.scm}. + @node Music notation inside markup @unnumberedsubsubsec Music notation inside markup @@ -1110,6 +1112,7 @@ c d e f An exhaustive list of music notation related commands can be found in @ref{Music}. + @seealso Notation Reference: @ref{Music}, @@ -1126,6 +1129,7 @@ Installed files: @file{scm/@/fret@/-diagrams@/.scm}, @file{scm/@/harp@/-pedals@/.scm}. + @node Multi-page markup @unnumberedsubsubsec Multi-page markup @@ -1160,6 +1164,7 @@ a list of markup lists. An exhaustive list of markup list commands can be found in @ref{Text markup list commands}. + @seealso Notation Reference: @ref{Text markup list commands}, @@ -1287,6 +1292,7 @@ it is also possible to use other fonts, as explained in the following sections: @ref{Single entry fonts} and @ref{Entire document fonts}. + @seealso Notation Reference: @ref{The Feta font}, @@ -1294,6 +1300,7 @@ Notation Reference: @ref{Selecting font and font size}, @ref{Font}. + @node Single entry fonts @unnumberedsubsubsec Single entry fonts @@ -1324,6 +1331,7 @@ lilypond -dshow-available-fonts x The last argument of the command can be anything, but has to be present. + @seealso Notation Reference: @ref{Fonts explained}, @@ -1335,10 +1343,10 @@ Snippets: Installed files: @file{lily/@/font@/-config@/-scheme@/.cc}. + @node Entire document fonts @unnumberedsubsubsec Entire document fonts - It is possible to change the fonts to be used as the default fonts in the @emph{roman}, @emph{sans} and @emph{typewriter} font families by specifying them, in that order, as shown in the example below. For an @@ -1368,6 +1376,7 @@ explanation of fonts, see @ref{Fonts explained}. @c we don't do Helvetica / Courier, since GS incorrectly loads @c Apple TTF fonts + @seealso Notation Reference: @ref{Fonts explained}, diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index a08e4799f0..f4d39d0ccf 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -460,7 +460,6 @@ Here is a small example showing all these elements together: @seealso - Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms}, @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}. @@ -634,14 +633,13 @@ you have a starting template for experiments. To see exactly the same output (line-width and all), copy everything from @qq{Start cut-&-pastable section} to the bottom of the file. -@seealso +@seealso There are more tips for constructing input files in @ref{Suggestions for writing LilyPond input files}. But it might be best to read through the rest of the tutorial first. - @node Single staff notation @section Single staff notation @@ -775,8 +773,8 @@ according to different conventions. For some examples how accidentals can be printed according to different rules, see @ruser{Automatic accidentals}. -@seealso +@seealso Notation Reference: @ruser{Note names in other languages}, @ruser{Accidentals}, @ruser{Automatic accidentals}, @ruser{Key signature}. @@ -852,8 +850,8 @@ larger groups of notes. Slurs and ties can be nested. c2~( c8 fis fis4 ~ fis2 g2) @end lilypond -@seealso +@seealso Notation Reference: @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing slurs}. @@ -942,8 +940,8 @@ example @code{\f}, will end the (de)crescendo, or the command c2\< c2\ff\> c2 c2\! @end lilypond -@seealso +@seealso Notation Reference: @ruser{Articulations and ornamentations}, @ruser{Fingering instructions}, @ruser{Dynamics}. @@ -975,7 +973,6 @@ a1_\markup{ @seealso - Notation Reference: @ruser{Writing text}. @@ -1025,8 +1022,8 @@ a8 c b4 d8. c16 b4 a8 c b4 d8. c16 b4 @end lilypond -@seealso +@seealso Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}. @@ -1102,8 +1099,8 @@ c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @end lilypond -@seealso +@seealso Notation Reference: @ruser{Grace notes}, @ruser{Tuplets}, @ruser{Upbeats}. @@ -1366,8 +1363,8 @@ suitable for vocal scores. These staff groups each form another type of context, one that generates the brace at the left end of every system and also controls the extent of bar lines. -@seealso +@seealso Notation Reference: @ruser{Keyboard and other multi-staff instruments}, @ruser{Displaying staves}. @@ -1469,8 +1466,8 @@ Again, these expressions can be nested arbitrarily. >> @end lilypond -@seealso +@seealso Notation Reference: @ruser{Simultaneous notes}. @@ -1697,7 +1694,6 @@ Here's an example from Rossini's @notation{Figaro}, where @seealso - Notation Reference: @ruser{Vocal music}. @@ -1739,12 +1735,11 @@ produced by separating out the score structure from the notes and lyrics with variables. These are discussed in @ref{Organizing pieces with variables}. -@seealso +@seealso Notation Reference: @ruser{Vocal music}. - @node Final touches @section Final touches diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely index 76ea922a9c..3ed353c257 100644 --- a/Documentation/user/tweaks.itely +++ b/Documentation/user/tweaks.itely @@ -450,8 +450,8 @@ appearance may be modified in the usual way with } @end lilypond -@seealso +@seealso Notation Reference: @ruser{The tweak command}. @@ -879,8 +879,8 @@ syllable and the terminating brace.} @warning{In overrides in lyrics always place spaces around the dot between the context name and the object name.} -@seealso +@seealso Learning Manual: @ref{Scheme tutorial}. @@ -951,8 +951,8 @@ by apostrophe-hash, @code{'#}. @tab @code{'#(#t #t #f)} @end multitable -@seealso +@seealso Learning Manual: @ref{Scheme tutorial}. diff --git a/Documentation/user/unfretted-strings.itely b/Documentation/user/unfretted-strings.itely index 10ad62b810..ac58969a3c 100644 --- a/Documentation/user/unfretted-strings.itely +++ b/Documentation/user/unfretted-strings.itely @@ -64,6 +64,7 @@ added, see @ref{Arpeggio}. @end itemize + @seealso Learning Manual: @rlearning{String quartet}. @@ -77,6 +78,7 @@ Notation Reference: Snippets: @rlsr{Unfretted strings}. + @node Bowing indications @unnumberedsubsubsec Bowing indications @@ -119,11 +121,11 @@ a2^\markup { \small "sul A" } @seealso - Notation Reference: @ref{Articulations and ornamentations}, @ref{Slurs}. + @node Harmonics @unnumberedsubsubsec Harmonics @@ -176,6 +178,7 @@ diamond note head to indicate the harmonic position. 2 @end lilypond + @seealso Music Glossary: @rglos{harmonics}. @@ -184,6 +187,7 @@ Notation Reference: @ref{Special note heads}, @ref{References for unfretted strings}. + @node Snap (Bartok) pizzicato @unnumberedsubsubsec Snap (Bartók) pizzicato diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely index 8d054dc546..217bdd14c0 100644 --- a/Documentation/user/vocal.itely +++ b/Documentation/user/vocal.itely @@ -93,10 +93,12 @@ TBC @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] {simple-lead-sheet.ly} + @seealso Notation Reference: @ref{Chord notation}. + @node Spoken music @unnumberedsubsubsec Spoken music @cindex parlato @@ -126,6 +128,7 @@ TBC @c Add "Printing both the ancient and the modern clef in vocal music" snippet, @c and "Transcription of Ancient music with incipit" snippet. -vv + @seealso Notation Reference: @ref{Ancient notation}. @@ -289,7 +292,6 @@ verseOne = \lyricmode @{ Joy to the world the Lord is come @} @seealso - Notation Reference: @ref{Fonts}. @@ -297,6 +299,7 @@ Internals Reference: @rinternals{LyricText}, @rinternals{LyricSpace}. + @c FIXME: this title has to be changed (possible confusion with LM) -vv @node Setting simple songs @unnumberedsubsubsec Setting simple songs @@ -422,8 +425,8 @@ remains empty. @end ignore -@seealso +@seealso @c TODO: document \new Staff << Voice \lyricsto >> bug Internals Reference: @rinternals{LyricCombineMusic}, @@ -575,8 +578,8 @@ Here is an example demonstrating manual lyric durations, } >> @end lilypond -@seealso +@seealso Internals Reference: @rinternals{Lyrics}. @@ -604,8 +607,8 @@ glyph.}. \addlyrics { pu- ro~y~ho- nes- to } @end lilypond -@seealso +@seealso Internals Reference: @rinternals{LyricCombineMusic}. @@ -697,9 +700,9 @@ A complete example of a SATB score setup is in section @seealso - @c @lsr{vocal,lyric@/-combine.ly}. + @knownissues Melismata are not detected automatically, and extender lines must be @@ -757,12 +760,13 @@ happens can be controlled with the @code{minimum-distance} (minimum distance between two syllables) and the @code{minimum-length} (threshold below which hyphens are removed). -@seealso +@seealso Internals Reference: @rinternals{LyricExtender}, @rinternals{LyricHyphen} + @node Lyrics and repeats @unnumberedsubsubsec Lyrics and repeats @@ -1318,7 +1322,6 @@ text = \lyricmode { @seealso - Internals Reference: @rinternals{LyricText}, @rinternals{StanzaNumber}. diff --git a/Documentation/user/wind.itely b/Documentation/user/wind.itely index 772e291297..4942344f71 100644 --- a/Documentation/user/wind.itely +++ b/Documentation/user/wind.itely @@ -80,8 +80,8 @@ See @ref{Articulations and ornamentations}. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {changing--flageolet-mark-size.ly} -@seealso +@seealso Notation Reference: @ref{Breath marks}, @ref{Slurs}, @@ -167,9 +167,11 @@ This can be indicated by @code{cflat} or @code{fflat}. Similarly, the piobaireachd high g can be written @code{gflat} when it occurs in light music. + @seealso @rlsr{Winds} + @node Bagpipe example @unnumberedsubsubsec Bagpipe example @@ -216,5 +218,6 @@ notation. } @end lilypond + @seealso @rlsr{Winds} diff --git a/Documentation/user/world.itely b/Documentation/user/world.itely index 52ec6dc2bb..e5df1a7f98 100644 --- a/Documentation/user/world.itely +++ b/Documentation/user/world.itely @@ -79,8 +79,8 @@ described in @ref{Unmetered music}. @end itemize -@seealso +@seealso Notation Reference: @ref{Note names in other languages}, @ref{Key signature}, @@ -135,7 +135,6 @@ signature cannot be altered by using this method. @seealso - Notation Reference: @ref{Note names in other languages}. @@ -245,8 +244,8 @@ key signatures: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {non-traditional-key-signatures.ly} -@seealso +@seealso Notation Reference: @ref{Key signature}. @@ -286,8 +285,8 @@ adjust the beaming behaviour and/or use compound time signatures. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {arabic-improvisation.ly} -@seealso +@seealso Notation Reference: @ref{Manual beams}, @ref{Automatic beams}, @@ -333,13 +332,12 @@ intervals and unusual modes that are discussed in this section. } @end lilypond -@seealso +@seealso Snippets: @rlsr{World music} - @node Further reading @unnumberedsubsubsec Further reading -- 2.39.2