From de3eade41394be6d0d6f0f60a6a9086d8748d94c Mon Sep 17 00:00:00 2001 From: Francisco Vila Date: Fri, 19 Feb 2010 10:39:06 +0100 Subject: [PATCH] Doc-es: updates in Notation, Fundamental, Essay and Extending. --- Documentation/es/essay/literature.itely | 11 +- Documentation/es/extending.tely | 4 +- .../es/included/generating-output.itexi | 4 +- Documentation/es/learning/fundamental.itely | 485 +++++++++++------- Documentation/es/notation/ancient.itely | 2 +- .../es/notation/changing-defaults.itely | 6 +- Documentation/es/notation/chords.itely | 2 +- Documentation/es/notation/expressive.itely | 14 +- Documentation/es/notation/keyboards.itely | 4 +- .../es/notation/notation-appendices.itely | 10 +- Documentation/es/notation/percussion.itely | 19 +- Documentation/es/notation/repeats.itely | 2 +- Documentation/es/notation/spacing.itely | 2 +- Documentation/es/notation/text.itely | 2 +- Documentation/es/notation/vocal.itely | 2 +- 15 files changed, 370 insertions(+), 199 deletions(-) diff --git a/Documentation/es/essay/literature.itely b/Documentation/es/essay/literature.itely index 085e5e6065..39f5645c91 100644 --- a/Documentation/es/essay/literature.itely +++ b/Documentation/es/essay/literature.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; -*- @ignore - Translation of GIT committish: 23cd7c415987593a6bafe1a6471caa3d34003498 + Translation of GIT committish: a48879a125150c95571cc2cd06fd626e75cd3b65 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -14,6 +14,9 @@ @chapter Lista de referencias bibliográficas @translationof Literature list +A continuación presentamos algunas listas de referencias que se +utilizan en LilyPond. + @menu * Lista bibliográfica resumida:: * Lista bibliográfica ampliada:: @@ -23,9 +26,9 @@ @section Lista bibliográfica resumida @translationof Short literature list -Si tiene necesidad de aprender más acerca de la notación musical, le presentamos a continuación -algunos títulos interesantes que puede leer. - +Si tiene necesidad de aprender más acerca de la notación musical, le +presentamos a continuación algunos títulos interesantes que puede +leer. @table @cite diff --git a/Documentation/es/extending.tely b/Documentation/es/extending.tely index e2d866ec05..e12b1fe6be 100644 --- a/Documentation/es/extending.tely +++ b/Documentation/es/extending.tely @@ -1,6 +1,6 @@ \input texinfo @c -*- coding: utf-8; mode: texinfo; -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 829d4293f61b7583e20ecdd3c427cde11e942fef When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -20,7 +20,7 @@ LilyPond versión @version{}. @c `Extending' was born 2003-04-23 with git commit c08f6e8... @macro copyrightDeclare -Copyright @copyright{} 2003--2009 por los autores. +Copyright @copyright{} 2003--2010 por los autores. @end macro @set FDL diff --git a/Documentation/es/included/generating-output.itexi b/Documentation/es/included/generating-output.itexi index d6f8f43045..e633959c0e 100644 --- a/Documentation/es/included/generating-output.itexi +++ b/Documentation/es/included/generating-output.itexi @@ -1,7 +1,9 @@ @c -*- coding: utf-8; mode: texinfo; -*- +@c This file is part of web/download.itexi and +@c learning/tutorial.itely @ignore - Translation of GIT committish: e600412e50db9e8ee3b9e408527322b84b946f52 + Translation of GIT committish: a48879a125150c95571cc2cd06fd626e75cd3b65 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/learning/fundamental.itely b/Documentation/es/learning/fundamental.itely index 18dd264bd4..7e034092d3 100644 --- a/Documentation/es/learning/fundamental.itely +++ b/Documentation/es/learning/fundamental.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: 42f15d2fa4de88b8ed1a3fed30570cde0ab03f5f + Translation of GIT committish: 412fa426d510594ec7772c7cf7b568e376bd1c84 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -233,8 +233,8 @@ Para ver más detalles, consulte @ruser{Varias partituras en un libro}. @cindex variables -Otro atajo genial es la posibilidad de definir variables (véase -@ref{Organizar las piezas mediante variables}). Todas las +Otro magnífico atajo es la posibilidad de definir variables como +se muestra en @ref{Organizar las piezas mediante variables}. Todas las plantillas emplean lo siguiente: @example @@ -668,7 +668,7 @@ la nota de paso y la ligadura: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \key g \major % Voice "1" Voice "2" -<< { g4 fis8( g) a4 g } \\ { d4 d d d } >> | +<< { g4 fis8( g) a4 g } \\ { d4 d d d } >> @end lilypond Observe cómo las plicas de la segunda voz ahora se dirigen hacia @@ -679,9 +679,9 @@ A continuación veamos otro ejemplo sencillo: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \key d \minor % Voice "1" Voice "2" -<< { r4 g g4. a8 } \\ { d,2 d4 g } >> | -<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> | -<< { a2. r4 } \\ { fis2. s4 } >> | +<< { r4 g g4. a8 } \\ { d,2 d4 g } >> +<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> +<< { a2. r4 } \\ { fis2. s4 } >> @end lilypond No es necesario usar una construcción @code{<< \\ >>} distinta para @@ -723,8 +723,8 @@ correcta. % Main voice c16 d e f % Voice "1" Voice "2" Voice "3" - << { g4 f e } \\ { r8 e4 d c8 ~ } >> | - << { d2 e2 } \\ { c8 b16 a b8 g ~ g2 } \\ { s4 b4 c2 } >> | + << { g4 f e } \\ { r8 e4 d c8~ } >> + << { d2 e2 } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b4 c2 } >> } @end lilypond @@ -747,7 +747,7 @@ construcciones, como se indica aquí en la voz de triángulos azules. \new Staff \relative c' { % Main voice c16 d e f - << % Bar 1 + << % Bar 1 { \voiceOneStyle g4 f e @@ -755,10 +755,10 @@ construcciones, como se indica aquí en la voz de triángulos azules. \\ { \voiceTwoStyle - r8 e4 d c8 ~ + r8 e4 d c8~ } >> - << % Bar 2 + << % Bar 2 % Voice 1 continues { d2 e2 } \\ @@ -836,12 +836,12 @@ las complicaciones se explicarán en secciones posteriores). @lilypond[quote,ragged-right] \new Staff \relative c'' { \key aes \major - << % Voice one + << % Voice one { c2 aes4. bes8 } - \\ % Voice two + \\ % Voice two { aes2 f4 fes } - \\ % No voice three - \\ % Voice four + \\ % No voice three + \\ % Voice four { % Ignore these for now - they are explained in Ch 4 \once \override NoteColumn #'force-hshift = #0 @@ -880,7 +880,7 @@ entienda. \new Staff \relative c'' { \key aes \major << - { % Voice one + { % Voice one \voiceOneStyle c2 aes4. bes8 } @@ -897,8 +897,8 @@ entienda. \once \override NoteColumn #'force-hshift = #0.5 des2 } - >> | - 1 | + >> + 1 } @end lilypond @@ -934,15 +934,15 @@ Esto se hace escribiendo otro par de barras invertidas (@code{\\}). @lilypond[quote,verbatim,fragment,ragged-right] \new Staff \relative c'' { \key aes \major - << % Voice one + << % Voice one { c2 aes4. bes8 } - \\ % Voice two - { aes2 f4 fes } - \\ % Omit Voice three - \\ % Voice four + \\ % Voice two + { aes2 f4 fes } + \\ % Omit Voice three + \\ % Voice four { 2 des2 } - >> | - 1 | + >> + 1 } @end lilypond @@ -1045,25 +1045,25 @@ las ligaduras de unión y de expresión y las indicaciones de dinámica: @lilypond[quote,ragged-right,verbatim] \relative c'{ % Default behavior or behavior after \oneVoice - c d8 ~ d e4 ( f g a ) b-> c + c d8~ d e4( f g a) b-> c } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c'{ \voiceOne - c d8 ~ d e4 ( f g a ) b-> c + c d8~ d e4( f g a) b-> c \oneVoice - c, d8 ~ d e4 ( f g a ) b-> c + c, d8~ d e4( f g a) b-> c } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c'{ \voiceTwo - c d8 ~ d e4 ( f g a ) b-> c + c d8~ d e4( f g a) b-> c \oneVoice - c, d8 ~ d e4 ( f g a ) b-> c + c, d8~ d e4( f g a) b-> c } @end lilypond @@ -1088,18 +1088,18 @@ pueda trazar una ligadura por encima de ellas. % Start simultaneous section of three voices << % Continue the main voice in parallel - { g4 f e | d2 e2) } + { g4 f e | d2 e2) | } % Initiate second voice \new Voice { - % Set stems, etc, down + % Set stems, etc., down \voiceTwo - r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 + r8 e4 d c8~ | c8 b16 a b8 g~ g2 | } % Initiate third voice \new Voice { % Set stems, etc, up \voiceThree - s2. | s4 b4 c2 + s2. | s4 b4 c2 | } >> } @@ -1119,12 +1119,12 @@ de tipografiar la música. \new Staff \relative c' { c16^( d e f << - { g4 f e | d2 e2) } + { g4 f e | d2 e2) | } \new Voice { \voiceTwo - r8 e4 d c8 ~ | + r8 e4 d c8~ << - {c8 b16 a b8 g ~ g2} + { c8 b16 a b8 g~ g2 } \new Voice { \voiceThree s4 b4 c2 @@ -1154,7 +1154,7 @@ que una voz está en silencio, como aquí: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 | + s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | } % Initiate third voice \new Voice { @@ -1290,13 +1290,13 @@ no como música. @lilypond[quote,verbatim] global = { \time 6/8 \partial 8 \key f \major} SopOneMusic = \relative c'' { - c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 } + c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 | } SopTwoMusic = \relative c' { - r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' } + r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | } SopOneLyrics = \lyricmode { - Let | flee -- cy flocks the | hills a -- dorn, __ } + Let | flee -- cy flocks the | hills a -- dorn, __ | } SopTwoLyrics = \lyricmode { - Let | flee -- cy flocks the | hills a -- dorn, } + Let | flee -- cy flocks the | hills a -- dorn, | } \score { \new ChoirStaff << @@ -1347,18 +1347,18 @@ ejemplos se le suele dar el nombre de @q{global}. @lilypond[quote,verbatim] TimeKey = { \time 4/4 \partial 4 \key c \major} -SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g } -AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e } -TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } -BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } +SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g | } +AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e | } +TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 | } +BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 | } VerseOne = \lyricmode { - E -- | ter -- nal fa -- ther, | strong to save, } + E -- | ter -- nal fa -- ther, | strong to save, | } VerseTwo = \lyricmode { - O | Christ, whose voice the | wa -- ters heard, } + O | Christ, whose voice the | wa -- ters heard, | } VerseThree = \lyricmode { - O | Ho -- ly Spi -- rit, | who didst brood } + O | Ho -- ly Spi -- rit, | who didst brood | } VerseFour = \lyricmode { - O | Tri -- ni -- ty of | love and pow'r } + O | Tri -- ni -- ty of | love and pow'r | } \score { \new ChoirStaff << @@ -1374,7 +1374,7 @@ VerseFour = \lyricmode { \new Staff << \clef "bass" \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic } - \new Voice = "Bass" { \voiceTwo \BassMusic } + \new Voice = "Bass" { \voiceTwo \BassMusic } >> >> } @@ -1404,7 +1404,8 @@ comienzo al mismo tiempo: versenotes = \relative c'' { \clef "treble" \key g \major - \time 3/4 g g g b b b + \time 3/4 + g g g | b b b | } versewords = \lyricmode { One two three four five six @@ -1459,16 +1460,17 @@ estrofa: versenotes = \relative c'' { \clef "treble" \key g \major - \time 3/4 g g g b b b + \time 3/4 + g g g | b b b | } refrainnotesA = \relative c'' { \time 2/4 - c c g g \bar "|." + c c | g g \bar "|." } refrainnotesB = \relative c { \clef "bass" \key g \major - c e d d + c e | d d | } versewords = \lyricmode { One two three four five six @@ -1522,16 +1524,17 @@ codificarlo como dos bloques @code{\score} dentro de un bloque versenotes = \relative c'' { \clef "treble" \key g \major - \time 3/4 g g g b b b + \time 3/4 + g g g | b b b | } refrainnotesA = \relative c'' { \time 2/4 - c c g g \bar "|." + c c | g g \bar "|." } refrainnotesB = \relative c { \clef "bass" \key g \major - c e d d + c e | d d | } versewords = \lyricmode { One two three four five six @@ -1741,8 +1744,8 @@ un ejemplo anotado de música real: \clef "treble" \new Voice { % create voice for RH notes \relative c'' { % start of RH notes - d4 ees16 c8. | - d4 ees16 c8. | + d4 ees16 c8. + d4 ees16 c8. } % end of RH notes } % end of RH voice } % end of RH staff @@ -1752,15 +1755,15 @@ un ejemplo anotado de música real: \new Voice { % create LH voice one \voiceOne \relative g { % start of LH voice one notes - g8 ees, | - g8 ees, | + g8 ees, + g8 ees, } % end of LH voice one notes } % end of LH voice one \new Voice { % create LH voice two \voiceTwo \relative g { % start of LH voice two notes - g4 ees | - g4 ees | + g4 ees + g4 ees } % end of LH voice two notes } % end of LH voice two >> % end of LH staff @@ -2042,11 +2045,11 @@ Así, esto desactivará los becuadros adicionales en un pentagrama: << \new Staff \relative c'' { ais4 aes - } + } \new Staff \relative c'' { \set Staff.extraNatural = ##f ais4 aes - } + } >> @end lilypond @@ -2057,11 +2060,11 @@ y esto los desactivará en todos los pentagramas: << \new Staff \relative c'' { ais4 aes - } + } \new Staff \relative c'' { \set Score.extraNatural = ##f ais4 aes - } + } >> @end lilypond @@ -2206,7 +2209,8 @@ continuación presentamos un ejemplo que muestra el formato: } } \layout { - \context { \Staff + \context { + \Staff extraNatural = ##t } } @@ -2222,10 +2226,10 @@ enunciados dentro de un bloque @code{\with}, y mediante instrucciones @seealso Referencia de la notación: -@ruser{Cambiar los valores por omisión de los contextos}. +@ruser{Cambiar los valores por omisión de los contextos}, @c FIXME @c uncomment when backslash-node-name issue is resolved -pm -@c @ruser{La instrucción set}. +@ruser{La instrucción set}. Referencia de funcionamiento interno: @rinternals{Contexts}, @@ -2351,22 +2355,31 @@ podemos escribir \score { << \new Staff << - \relative c'' { c a b g } + \relative c'' { + c a b g + } >> \new Staff << - \relative c' { c a b g } + \relative c' { + c a b g + } >> \new Staff << \clef "G_8" - \relative c' { c a b g } + \relative c' { + c a b g + } >> \new Staff << \clef "bass" - \relative c { c a b g } + \relative c { + c a b g + } >> >> \layout { - \context { \Staff + \context { + \Staff \consists Ambitus_engraver } } @@ -2535,16 +2548,16 @@ esto: @c Indentation in this example is deliberately poor @example -\score@{ - << +\score @{ << - \new Voice = "uno" @{ - \autoBeamOff - \sopranoMusic - @} - \new Lyrics \lyricsto "uno" \letraSoprano - >> - \new Staff \musicaCello + << + \new Voice = "uno" @{ + \autoBeamOff + \sopranoMusic + @} + \new Lyrics \lyricsto "uno" \letraSoprano + >> + \new Staff \musicaCello >> \layout @{ @} \midi @{ @} @@ -2636,16 +2649,16 @@ bassWords = \sopranoWords upper = \relative a' { \clef "treble" \global - r4 2 4 | - 4. 8 2 | - 4 2 | + r4 2 4 + 4. 8 2 + 4 2 } lower = \relative c, { \clef "bass" \global - 4 2 4 | - 4. 8 2 | - 4 2 | + 4 2 4 + 4. 8 2 + 4 2 } \score { @@ -2653,26 +2666,41 @@ lower = \relative c, { \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = #"Soprano" - \new Voice = "sopranos" { \global \sopranoMusic } + \new Voice = "sopranos" { + \global + \sopranoMusic + } >> - \new Lyrics \lyricsto "sopranos" { \sopranoWords } + \new Lyrics \lyricsto "sopranos" { + \sopranoWords + } \new Staff = "altos" << \set Staff.instrumentName = #"Alto" - \new Voice = "altos" { \global \altoMusic } + \new Voice = "altos" { + \global + \altoMusic + } >> \new Lyrics \lyricsto "altos" { \altoWords } \new Staff = "tenors" << \set Staff.instrumentName = #"Tenor" - \new Voice = "tenors" { \global \tenorMusic } + \new Voice = "tenors" { + \global + \tenorMusic + } >> \new Lyrics \lyricsto "tenors" { \tenorWords } \new Staff = "basses" << \set Staff.instrumentName = #"Bass" - \new Voice = "basses" { \global \bassMusic } + \new Voice = "basses" { + \global + \bassMusic + } >> - \new Lyrics \lyricsto "basses" { \bassWords } + \new Lyrics \lyricsto "basses" { + \bassWords + } >> % end ChoirStaff - \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" \new Staff = "upper" \upper @@ -2708,24 +2736,44 @@ Al hacerlo así obtenemos el ChoirStaff siguiente: \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = #"Soprano" - \new Voice = "sopranos" @{ \global \musicaSoprano @} + \new Voice = "sopranos" @{ + \global + \musicaSoprano + @} >> - \new Lyrics \lyricsto "sopranos" @{ \latraSoprano @} + \new Lyrics \lyricsto "sopranos" @{ + \letraSoprano + @} \new Staff = "altos" << \set Staff.instrumentName = #"Alto" - \new Voice = "altos" @{ \global \musicaAlto @} + \new Voice = "altos" @{ + \global + \musicaAlto + @} >> - \new Lyrics \lyricsto "altos" @{ \letraAlto @} + \new Lyrics \lyricsto "altos" @{ + \letraAlto + @} \new Staff = "tenores" << \set Staff.instrumentName = #"Tenor" - \new Voice = "tenores" @{ \global \musicaTenor @} + \new Voice = "tenores" @{ + \global + \musicaTenor + @} >> - \new Lyrics \lyricsto "tenores" @{ \letraTenor @} + \new Lyrics \lyricsto "tenores" @{ + \letraTenor + @} \new Staff = "bajos" << - \set Staff.instrumentName = #"Bass" - \new Voice = "bajos" @{ \global \musicaBajo @} + \set Staff.instrumentName = #"Bajo" + \new Voice = "bajos" @{ + \global + \musicaBajo + @} >> - \new Lyrics \lyricsto "bajos" @{ \letraBajo @} + \new Lyrics \lyricsto "bajos" @{ + \letraBajo + @} >> % fin del ChoirStaff @end example @@ -2751,23 +2799,43 @@ Los grupos ChoirStaff y PianoStaff se deben combinar utilizando << % combinar los grupos ChoirStaff y PianoStaff uno sobre el otro \new ChoirStaff << \new Staff = "sopranos" << - \new Voice = "sopranos" @{ \global \musicaSoprano @} + \new Voice = "sopranos" @{ + \global + \musicaSoprano + @} >> - \new Lyrics \lyricsto "sopranos" @{ \letraSoprano @} + \new Lyrics \lyricsto "sopranos" @{ + \letraSoprano + @} \new Staff = "altos" << - \new Voice = "altos" @{ \global \musicaAlto @} + \new Voice = "altos" @{ + \global + \musicaAlto + @} >> - \new Lyrics \lyricsto "altos" @{ \letraAlto @} + \new Lyrics \lyricsto "altos" @{ + \letraAlto + @} \new Staff = "tenores" << \clef "G_8" % clave de tenor - \new Voice = "tenores" @{ \global \musicaTenor @} + \new Voice = "tenores" @{ + \global + \musicaTenor + @} >> - \new Lyrics \lyricsto "tenores" @{ \letraTenor @} + \new Lyrics \lyricsto "tenores" @{ + \letraTenor + @} \new Staff = "bajos" << \clef "bass" - \new Voice = "bajos" @{ \global \musicaBajo @} + \new Voice = "bajos" @{ + \global + \musicaBajo + @} >> - \new Lyrics \lyricsto "bajos" @{ \letraBajo @} + \new Lyrics \lyricsto "bajos" @{ + \letraBajo + @} >> % fin del ChoirStaff \new PianoStaff << @@ -2782,7 +2850,10 @@ Al combinar todo esto junto y escribir la música de los tres compases del ejemplo anterior, obtenemos: @lilypond[quote,verbatim,ragged-right,addversion] -global = { \key d \major \time 4/4 } +global = { + \key d \major + \time 4/4 +} sopranoMusic = \relative c'' { \clef "treble" r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | @@ -2808,16 +2879,16 @@ bassWords = \sopranoWords upper = \relative a' { \clef "treble" \global - r4 2 4 | - 4. 8 2 | - 4 2 | + r4 2 4 + 4. 8 2 + 4 2 } lower = \relative c, { \clef "bass" \global - 4 2 4 | - 4. 8 2 | - 4 2 | + 4 2 4 + 4. 8 2 + 4 2 } \score { @@ -2825,24 +2896,44 @@ lower = \relative c, { \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = #"Soprano" - \new Voice = "sopranos" { \global \sopranoMusic } + \new Voice = "sopranos" { + \global + \sopranoMusic + } >> - \new Lyrics \lyricsto "sopranos" { \sopranoWords } + \new Lyrics \lyricsto "sopranos" { + \sopranoWords + } \new Staff = "altos" << \set Staff.instrumentName = #"Alto" - \new Voice = "altos" { \global \altoMusic } + \new Voice = "altos" { + \global + \altoMusic + } >> - \new Lyrics \lyricsto "altos" { \altoWords } + \new Lyrics \lyricsto "altos" { + \altoWords + } \new Staff = "tenors" << \set Staff.instrumentName = #"Tenor" - \new Voice = "tenors" { \global \tenorMusic } + \new Voice = "tenors" { + \global + \tenorMusic + } >> - \new Lyrics \lyricsto "tenors" { \tenorWords } + \new Lyrics \lyricsto "tenors" { + \tenorWords + } \new Staff = "basses" << \set Staff.instrumentName = #"Bass" - \new Voice = "basses" { \global \bassMusic } + \new Voice = "basses" { + \global + \bassMusic + } >> - \new Lyrics \lyricsto "basses" { \bassWords } + \new Lyrics \lyricsto "basses" { + \bassWords + } >> % end ChoirStaff \new PianoStaff << @@ -2890,11 +2981,14 @@ tonalidad: title = "Jesu, meine Freude" composer = "J S Bach" @} -TimeKey = @{ \time 4/4 \key c \minor @} -MusicaManualUnoVozUno = @{s1@} -MusicaManualUnoVozDos = @{s1@} -MusicaManualDos = @{s1@} -MusicaPedal = @{s1@} +TimeKey = @{ + \time 4/4 + \key c \minor +@} +MusicaManualUnoVozUno = @{ s1 @} +MusicaManualUnoVozDos = @{ s1 @} +MusicaManualDos = @{ s1 @} +MusicaPedal = @{ s1 @} \score @{ @} @@ -2914,11 +3008,17 @@ segunda sólo una. @example \new PianoStaff << \new Staff = "ManualUno" << - \new Voice @{ \MusicaManualUnoVozUno @} - \new Voice @{ \MusicaManualUnoVozDos @} + \new Voice @{ + \MusicaManualUnoVozUno + @} + \new Voice @{ + \MusicaManualUnoVozDos + @} >> % fin del contexto de Staff ManualUno \new Staff = "ManualDos" << - \new Voice @{ \MusicaManualDos @} + \new Voice @{ + \MusicaManualDos + @} >> % fin del contexto de Staff ManualDos >> % fin del contexto de PianoStaff @end example @@ -2935,15 +3035,23 @@ ejemplo final que aparece al final de la sección, borre los dobles << % el grupo PianoStaff y el pentagrama de Pedal son simultáneos \new PianoStaff << \new Staff = "ManualUno" << - \new Voice @{ \MusicaManualUnoVozUno @} - \new Voice @{ \MusicaManualUnoVozDos @} + \new Voice @{ + \MusicaManualUnoVozUno + @} + \new Voice @{ + \MusicaManualUnoVozDos + @} >> % fin del contexto de Staff ManualUno \new Staff = "ManualDos" << - \new Voice @{ \MusicaManualDos @} + \new Voice @{ + \MusicaManualDos + @} >> % fin del contexto de Staff ManualDos >> % fin del contexto de PianoStaff \new Staff = "OrganoPedal" << - \new Voice @{ \MusicaOrganoPedal @} + \new Voice @{ + \MusicaOrganoPedal + @} >> >> @end example @@ -2973,19 +3081,29 @@ los pentagramas usando nuestra variable previamente definida \new Staff = "ManualUno" << \TimeKey % establecer compás y tonalidad \clef "treble" - \new Voice @{ \voiceOne \MusicaManualUnoVozUno @} - \new Voice @{ \voiceTwo \MusicaManualUnoVozDos @} + \new Voice @{ + \voiceOne + \MusicaManualUnoVozUno + @} + \new Voice @{ + \voiceTwo + \MusicaManualUnoVozDos + @} >> % fin del contexto de Staff ManualUno \new Staff = "ManualDos" << \TimeKey \clef "bass" - \new Voice @{ \MusicaManualDos @} + \new Voice @{ + \MusicaManualDos + @} >> % fin del contexto de Staff ManualDos >> % fin del contexto de PianoStaff \new Staff = "OrganoPedal" << \TimeKey \clef "bass" - \new Voice @{ \MusicaOrganoPedal @} + \new Voice @{ + \MusicaOrganoPedal + @} >> % fin del pentagrama de OrganoPedal >> @} % end Score context @@ -3001,22 +3119,26 @@ todas las partes. title = "Jesu, meine Freude" composer = "J S Bach" } -TimeKey = { \time 4/4 \key c \minor } +TimeKey = { + \time 4/4 + \key c \minor +} ManualOneVoiceOneMusic = \relative g' { - g4 g f ees | d2 c2 | + g4 g f ees + d2 c2 } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c c4 b8 c8. g16 c b c d | + ees16 d ees8~ ees16 f ees d c8 d~ d c~ + c c4 b8 c8. g16 c b c d } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f ees f d g aes g f ees d e8~ ees16 f ees d | + c16 b c8~ c16 b c g a8 g~ g16 g aes ees + f ees f d g aes g f ees d e8~ ees16 f ees d } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | - r16 g ees f g f g8 c,2 | - } + r8 c16 d ees d ees8~ ees16 a, b g c b c8 + r16 g ees f g f g8 c,2 +} \score { << % PianoStaff and Pedal Staff must be simultaneous @@ -3024,19 +3146,29 @@ PedalOrganMusic = \relative c { \new Staff = "ManualOne" << \TimeKey % set time signature and key \clef "treble" - \new Voice { \voiceOne \ManualOneVoiceOneMusic } - \new Voice { \voiceTwo \ManualOneVoiceTwoMusic } + \new Voice { + \voiceOne + \ManualOneVoiceOneMusic + } + \new Voice { + \voiceTwo + \ManualOneVoiceTwoMusic + } >> % end ManualOne Staff context \new Staff = "ManualTwo" << \TimeKey \clef "bass" - \new Voice { \ManualTwoMusic } + \new Voice { + \ManualTwoMusic + } >> % end ManualTwo Staff context >> % end PianoStaff context \new Staff = "PedalOrgan" << \TimeKey \clef "bass" - \new Voice { \PedalOrganMusic } + \new Voice { + \PedalOrganMusic + } >> % end PedalOrgan Staff context >> } % end Score context @@ -3067,7 +3199,12 @@ minimalista: @lilypond[quote,verbatim,ragged-right] fragmentA = \relative c'' { a4 a8. b16 } fragmentB = \relative c'' { a8. gis16 ees4 } -violin = \new Staff { \fragmentA \fragmentA \fragmentB \fragmentA } +violin = \new Staff { + \fragmentA + \fragmentA + \fragmentB + \fragmentA +} \score { { \violin @@ -3081,22 +3218,22 @@ usuario) para hacer trucos: @c TODO Avoid padtext - not needed with skylining @lilypond[quote,verbatim,ragged-right] -dolce = \markup{ \italic \bold dolce } +dolce = \markup { \italic \bold dolce } padText = { \once \override TextScript #'padding = #5.0 } -fthenp=_\markup{ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } +fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } violin = \relative c'' { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c4._\dolce b8 a8 g a b \padText - c4.^"hi there!" d8 e' f g d | - c,4.\fthenp b8 c4 c-. | + c4.^"hi there!" d8 e' f g d + c,4.\fthenp b8 c4 c-. } } \score { { \violin } -\layout{ragged-right=##t} +\layout { ragged-right=##t } } @end lilypond @@ -3109,11 +3246,12 @@ leer, sobre todo la última línea. @example violin = \relative c'' @{ \repeat volta 2 @{ - c4._\markup@{ \italic \bold dolce @} b8 a8 g a b | + c4._\markup @{ \italic \bold dolce @} b8 a8 g a b \once \override TextScript #'padding = #5.0 - c4.^"hi there!" d8 e' f g d | - c,4.\markup@{ \dynamic f \italic \small @{ 2nd @} - \hspace #0.1 \dynamic p @} b8 c4 c-. | + c4.^"hi there!" d8 e' f g d + c,4.\markup @{ \dynamic f \italic \small @{ 2nd @} + \hspace #0.1 \dynamic p @} + b8 c4 c-. @} @} @end example @@ -3269,13 +3407,14 @@ lo que nos lleva a @lilypond[quote,ragged-right] \relative c << \new Staff { - \time 2/4 R2*3 + \time 2/4 + R2*3 r4 f8 a cis4 f e d } \new Staff { \clef bass r4 d,8 f | gis4 c | b bes | - a8 e f4 | g d | gis f + a8 e f4 | g d | gis f | } >> @end lilypond diff --git a/Documentation/es/notation/ancient.itely b/Documentation/es/notation/ancient.itely index da4019363d..ba32f33dfd 100644 --- a/Documentation/es/notation/ancient.itely +++ b/Documentation/es/notation/ancient.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @c vim: foldmethod=marker @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: e445e9c9fb367682feb83a60a7cf6dcfc8a2bcca When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/notation/changing-defaults.itely b/Documentation/es/notation/changing-defaults.itely index 5dd4b9a957..5ba3e8b7c5 100644 --- a/Documentation/es/notation/changing-defaults.itely +++ b/Documentation/es/notation/changing-defaults.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore -Translation of GIT committish: 1eb98b180d639ff14d4152637bb97b1a8c651e90 +Translation of GIT committish: 412fa426d510594ec7772c7cf7b568e376bd1c84 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -1439,7 +1439,7 @@ abruptas, o las dos cosas. @node La instrucción set -@subsection La instrucción @code{\set} +@subsection La instrucción @code{@bs{}set} @translationof The set command @cindex propiedades @@ -3126,7 +3126,7 @@ Archivos de inicio: Fragmentos de código: @rlsr{Tweaks and overrides}. -Extending: +Extender: @rextend{Interfaces for programmers}. Referencia de funcionamiento interno: diff --git a/Documentation/es/notation/chords.itely b/Documentation/es/notation/chords.itely index 6b4dd7408b..31c7911e66 100644 --- a/Documentation/es/notation/chords.itely +++ b/Documentation/es/notation/chords.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/notation/expressive.itely b/Documentation/es/notation/expressive.itely index 3db7aa08cb..147b958bde 100644 --- a/Documentation/es/notation/expressive.itely +++ b/Documentation/es/notation/expressive.itely @@ -1,6 +1,6 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: bf9f2acb7fd1a9d3deb32e9e20d7b73cbff54b51 + Translation of GIT committish: ce3b7b374deb1a9a80defbbc78d485dc46fa1a5d When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -848,6 +848,13 @@ Las respiraciones se introducen utilizando @code{\breathe}: c2. \breathe d4 @end lilypond +Las marcas de respiración dan por terminadas las barras automáticas; +para sobreescribir este comportamiento, consulte @ref{Barras manuales}. + +@lilypond[verbatim,quote,relative=2] +c8 \breathe d e f g2 +@end lilypond + Están contemplados los indicadores musicales para las marcas de respiración en la notación antigua, o divisiones. Para ver más detalles, consulte @ref{Divisiones}. @@ -874,8 +881,9 @@ Fragmentos de código: @rlsr{Expressive marks}. Referencia de funcionamiento interno: -@rinternals{BreathingSign}. - +@rinternals{BreathingEvent}, +@rinternals{BreathingSign}, +@rinternals{Breathing_sign_engraver}. @node Caídas y elevaciones @unnumberedsubsubsec Caídas y elevaciones diff --git a/Documentation/es/notation/keyboards.itely b/Documentation/es/notation/keyboards.itely index e3c3fff6ce..dce7a54e1f 100644 --- a/Documentation/es/notation/keyboards.itely +++ b/Documentation/es/notation/keyboards.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -423,7 +423,7 @@ Se pueden hacer acordes que cruzan los pentagramas: \clef bass % stems may overlap the other staff \override Stem #'cross-staff = ##t - % extend the stems to reach other other staff + % extend the stems to reach the other staff \override Stem #'length = #12 % do not print extra flags \override Stem #'flag-style = #'no-flag diff --git a/Documentation/es/notation/notation-appendices.itely b/Documentation/es/notation/notation-appendices.itely index 4395aa6016..f63d7e4aa1 100644 --- a/Documentation/es/notation/notation-appendices.itely +++ b/Documentation/es/notation/notation-appendices.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: eb89fc37142758e8309f576a97a217b8fad257ff When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -427,8 +427,12 @@ El cuadro siguiente presenta los diagramas de traste predefinidos para ukelele. @appendixsec Instrumentos MIDI @translationof MIDI instruments -A continuación figura una lista con los nombres que se pueden utilizar para la -propiedad @code{midiInstrument} (instrumento MIDI). +A continuación figura una lista con los nombres que se pueden utilizar +para la propiedad @code{midiInstrument} (instrumento MIDI). El orden +de los instrumentos que aparece aquí, de arriba a abajo empezando por +la columna de la izquierda, corresponde a los 128 números de programa +del estándar General MIDI. + @example acoustic grand contrabass lead 7 (fifths) diff --git a/Documentation/es/notation/percussion.itely b/Documentation/es/notation/percussion.itely index 24756aeab0..95e9770446 100644 --- a/Documentation/es/notation/percussion.itely +++ b/Documentation/es/notation/percussion.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 412fa426d510594ec7772c7cf7b568e376bd1c84 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' @@ -97,10 +97,25 @@ nombre abreviado, y los dos se pueden usar en la entrada. La lista completa de nombre de instrumentos de percusión se encuentra en @ref{Notas de percusión}. +@cindex clave de percusión +@cindex percusión, clave + Observe que la notación normal de las notas con altura determinada (como @code{cis4}) en un contexto @code{DrumStaff} producen un mensaje de error. Las claves de percusión se añaden automáticamente al -contexto @code{DrumStaff}, pero también se pueden usar otras claves. +contexto @code{DrumStaff} pero también se pueden establecer +explícitamente o utilizar otras claves. + +@lilypond[quote,ragged-right,verbatim] +\drums { + \clef treble + hh4 hh hh hh + \break + \clef percussion + bd4 bd bd bd +} +@end lilypond + Hay ciertos detalles respecto a cómo está contemplado el MIDI para los instrumentos de percusión; para ver los detalles consulte diff --git a/Documentation/es/notation/repeats.itely b/Documentation/es/notation/repeats.itely index e9475bd339..6edd22a30c 100644 --- a/Documentation/es/notation/repeats.itely +++ b/Documentation/es/notation/repeats.itely @@ -1,6 +1,6 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/notation/spacing.itely b/Documentation/es/notation/spacing.itely index df9b180d59..67a68b3465 100644 --- a/Documentation/es/notation/spacing.itely +++ b/Documentation/es/notation/spacing.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/notation/text.itely b/Documentation/es/notation/text.itely index 9e8982f027..c72741614c 100644 --- a/Documentation/es/notation/text.itely +++ b/Documentation/es/notation/text.itely @@ -1,6 +1,6 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' diff --git a/Documentation/es/notation/vocal.itely b/Documentation/es/notation/vocal.itely index fa94bb6682..79cd506104 100644 --- a/Documentation/es/notation/vocal.itely +++ b/Documentation/es/notation/vocal.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*- @ignore - Translation of GIT committish: c1eb9d63bb22ba4a9243942599f68768f5631e34 + Translation of GIT committish: 765a28ffb69f6b66b58b9c8d0e2078020c511620 When revising a translation, copy the HEAD committish of the version that you are working on. For details, see the Contributors' -- 2.39.2