@c -*- coding: utf-8; mode: texinfo; documentlanguage: de -*-
@c This file is part of lilypond.tely
@ignore
- Translation of GIT committish: c946d2870fa81d9f07f763762d512501273d65a6
-
+ Translation of GIT committish: 6bf3e9149eb97e66b4c813e41dc7625f06c501aa
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.12.0"
@node Notation manual tables
@appendix Notation manual tables
-UNTRANSLATED NODE: IGNORE ME
+@c Please do not delete the following @ignore block.
+@ignore
+Note for editors and translators: In the following menu, two entries
+are needed to link to a pair of automatically generated sections.
+Please keep them and, if using emacs, do not run
+texinfo-all-menus-update without manually restoring them back. These
+menu entries are:
+
+* Text markup commands::
+* Text markup list commands::
-@menu
-* Chord name chart::
-* MIDI instruments::
-* List of colors::
-* The Feta font::
+and they should go just after
* Note head styles::
-@end menu
+
+and just before
+* List of articulations::
+@end ignore
+
+@menu
+* Chord name chart::
+* Common chord modifiers::
+* Predefined fretboard diagrams::
+* MIDI instruments::
+* List of colors::
+* The Feta font::
+* Note head styles::
+* Text markup commands::
+* Text markup list commands::
+* List of articulations::
+* Percussion notes::
+* All context properties::
+* Layout properties::
+* Identifiers::
+* Scheme functions::
+@end menu
+
@node Chord name chart
@appendixsec Chord name chart
-UNTRANSLATED NODE: IGNORE ME
+Die Tabelle zeigt die zwei üblichen Möglichkeiten, wie Akkordbezeichnungen
+ausgegeben werden. Es wird auch die entsprechende Note ausgegeben.
+
+@lilypondfile{chord-names-jazz.ly}
+
+
+@node Common chord modifiers
+@appendixsec Common chord modifiers
+
+Die Tabelle zeigt Modifikatoren für Akkorde, die im @code{\chordmode}-Modus
+benutzt werden können, um übliche Akkordkonstrukte zu notieren.
+
+@multitable @columnfractions .2 .3 .2 .2
+
+@item
+@b{Akkordtyp}
+@tab
+@b{Intervalle}
+@tab
+@b{Modifikator(en)}
+@tab
+@b{Beispiel}
+
+
+@item
+Dur
+@tab
+große Terz, Quinte
+@tab
+@code{5} oder nichts
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:5
+}
+@end lilypond
+
+@item
+Moll
+@tab
+kleine Terz, Quinte
+@tab
+@code{m} oder @code{m5}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m
+}
+@end lilypond
+
+@item
+Übermäßig
+@tab
+Große Terz, übermäßige Quinte
+@tab
+@code{aug}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:aug
+}
+@end lilypond
+
+@item
+Vermindert
+@tab
+Kleine Terz, verminderte Quinte
+@tab
+@code{dim}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:dim
+}
+@end lilypond
+
+@item
+Dominantsieben
+@tab
+Durdreiklang, kleine Septime
+@tab
+@code{7}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:7
+}
+@end lilypond
+
+@item
+Große Septime
+@tab
+Durdreiklang, große Septime
+@tab
+@code{maj7} oder @code{maj}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:maj7
+}
+@end lilypond
+
+@item
+Kleine Septime
+@tab
+Molldreiklang, kleine Septime
+@tab
+@code{m7}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m7
+}
+@end lilypond
+
+@item
+Verminderte Septime
+@tab
+Verminderter Dreiklang, verminderte Septime
+@tab
+@code{dim7}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:dim7
+}
+@end lilypond
+
+@item
+Übermäßige Septime
+@tab
+Übermäßiger Dreiklang, kleine Septime
+@tab
+@code{aug7}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:aug7
+}
+@end lilypond
+
+@item
+halbverminderte Septime
+@tab
+Verminderter Dreklang, kleine Sept
+@tab
+@code{m7.5-}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m7.5-
+}
+@end lilypond
+
+@item
+Kleine MollSept
+@tab
+Molldreiklang, Durseptime
+@tab
+@code{maj7.5-}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:maj7.5-
+}
+@end lilypond
+
+@item
+Große Sexte
+@tab
+Durdreiklang, Sexte
+@tab
+@code{6}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:6
+}
+@end lilypond
+
+@item
+Kleine Sexte
+@tab
+Molldreiklang, Sexte
+@tab
+@code{m6}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m6
+}
+@end lilypond
+
+@item
+Dominantnone
+@tab
+Dominantsept, große None
+@tab
+@code{9}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:9
+}
+@end lilypond
+
+@item
+Dur None
+@tab
+Große None, große Septime
+@tab
+@code{maj9}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:maj9
+}
+@end lilypond
+
+@item
+Moll None
+@tab
+Große None, kleine Septime
+@tab
+@code{m9}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m9
+}
+@end lilypond
+
+@item
+Dominantundezime
+@tab
+Dominantnone, perfekte Undezime
+@tab
+@code{11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:11
+}
+@end lilypond
+
+@item
+Durundezime
+@tab
+Große None, perfekte Unidezime
+@tab
+@code{maj11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:maj11
+}
+@end lilypond
+
+@item
+Mollundezime
+@tab
+Kleine None, perfekte Undezime
+@tab
+@code{m11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m11
+}
+@end lilypond
+
+@item
+Dominant-13
+@tab
+Dominantnone, große 13
+@tab
+@code{13}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:13
+}
+@end lilypond
+
+@item
+Dominant-13
+@tab
+@code{13.11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:13.11
+}
+@end lilypond
+
+@item
+Dur-13
+@tab
+Große Undezime, große 13
+@tab
+@code{maj13.11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:maj13.11
+}
+@end lilypond
+
+@item
+Moll-13
+@tab
+Kleine Undezime, große 13
+@tab
+@code{m13.11}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:m13.11
+}
+@end lilypond
+
+@item
+Sekundakkord
+@tab
+große Sekunde, perfekte Quinte
+@tab
+@code{sus2}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:sus2
+}
+@end lilypond
+
+@item
+Quartakkord
+@tab
+perfekte Quarte, perfekte Quinte
+@tab
+@code{sus4}
+@tab
+@lilypond[line-width=3\cm,noragged-right, notime]
+\chordmode {
+ c1:sus4
+}
+@end lilypond
+
+
+@end multitable
+
+
+@node Predefined fretboard diagrams
+@appendixsec Predefined fretboard diagrams
+
+Die Tabelle zeigt alle vordefinierten Bunddiagramme.
+
+@lilypondfile{display-predefined-fretboards.ly}
+
+
@node MIDI instruments
@appendixsec MIDI instruments
-UNTRANSLATED NODE: IGNORE ME
+Hier eine Liste von Musikinstrumentenbezeichnungen, die als Name für
+@code{midiInstrument} benutzt werden können.
+@c Todo: translate music instrument's names to German
+
+@cindex MIDI-Instrumentenbezeichnungen
+
+@example
+acoustic grand contrabass lead 7 (fifths)
+bright acoustic tremolo strings lead 8 (bass+lead)
+electric grand pizzicato strings pad 1 (new age)
+honky-tonk orchestral harp pad 2 (warm)
+electric piano 1 timpani pad 3 (polysynth)
+electric piano 2 string ensemble 1 pad 4 (choir)
+harpsichord string ensemble 2 pad 5 (bowed)
+clav synthstrings 1 pad 6 (metallic)
+celesta synthstrings 2 pad 7 (halo)
+glockenspiel choir aahs pad 8 (sweep)
+music box voice oohs fx 1 (rain)
+vibraphone synth voice fx 2 (soundtrack)
+marimba orchestra hit fx 3 (crystal)
+xylophone trumpet fx 4 (atmosphere)
+tubular bells trombone fx 5 (brightness)
+dulcimer tuba fx 6 (goblins)
+drawbar organ muted trumpet fx 7 (echoes)
+percussive organ french horn fx 8 (sci-fi)
+rock organ brass section sitar
+church organ synthbrass 1 banjo
+reed organ synthbrass 2 shamisen
+accordion soprano sax koto
+harmonica alto sax kalimba
+concertina tenor sax bagpipe
+acoustic guitar (nylon) baritone sax fiddle
+acoustic guitar (steel) oboe shanai
+electric guitar (jazz) english horn tinkle bell
+electric guitar (clean) bassoon agogo
+electric guitar (muted) clarinet steel drums
+overdriven guitar piccolo woodblock
+distorted guitar flute taiko drum
+guitar harmonics recorder melodic tom
+acoustic bass pan flute synth drum
+electric bass (finger) blown bottle reverse cymbal
+electric bass (pick) shakuhachi guitar fret noise
+fretless bass whistle breath noise
+slap bass 1 ocarina seashore
+slap bass 2 lead 1 (square) bird tweet
+synth bass 1 lead 2 (sawtooth) telephone ring
+synth bass 2 lead 3 (calliope) helicopter
+violin lead 4 (chiff) applause
+viola lead 5 (charang) gunshot
+cello lead 6 (voice)
+@end example
+
@node List of colors
@appendixsec List of colors
-UNTRANSLATED NODE: IGNORE ME
-
@subsubheading Normal colors
+
+Die Syntax zur Benutzung findet sich im Abschnitt @ref{Coloring objects}.
+
+@cindex Liste der Farben
+@cindex Farben, Liste
+
+@verbatim
+black white red green
+blue cyan magenta yellow
+grey darkred darkgreen darkblue
+darkcyan darkmagenta darkyellow
+@end verbatim
+
+
@subsubheading X color names
+
+X-Farbbezeichnungen haben verschiedene Varianten:
+
+Alle Bezeichnungen, die als einziges Wort mit Großbuchstaben
+geschrieben werden (bspw. @q{LightSlateBlue}), können auch
+von Leerzeichen getrennt geschrieben werden
+(also @q{light slate blue}).
+
+Das Wort @q{grey} kann in jedem Fall auch @q{gray} geschrieben
+werden (bspw. @q{DarkSlateGray}).
+
+Manche Bezeichnungen können auch ein numerales Suffix tragen
+(etwa @q{LightSalmon4}).
+
+
@subsubheading Color Names without a numerical suffix:
+
+@verbatim
+snow GhostWhite WhiteSmoke gainsboro FloralWhite
+OldLace linen AntiqueWhite PapayaWhip BlanchedAlmond
+bisque PeachPuff NavajoWhite moccasin cornsilk
+ivory LemonChiffon seashell honeydew MintCream
+azure AliceBlue lavender LavenderBlush MistyRose
+white black DarkSlateGrey DimGrey SlateGrey
+LightSlateGrey grey LightGrey MidnightBlue navy
+NavyBlue CornflowerBlue DarkSlateBlue SlateBlue MediumSlateBlue
+LightSlateBlue MediumBlue RoyalBlue blue DodgerBlue
+DeepSkyBlue SkyBlue LightSkyBlue SteelBlue LightSteelBlue
+LightBlue PowderBlue PaleTurquoise DarkTurquoise MediumTurquoise
+turquoise cyan LightCyan CadetBlue MediumAquamarine
+aquamarine DarkGreen DarkOliveGreen DarkSeaGreen SeaGreen
+MediumSeaGreen LightSeaGreen PaleGreen SpringGreen LawnGreen
+green chartreuse MediumSpringGreen GreenYellow LimeGreen
+YellowGreen ForestGreen OliveDrab DarkKhaki khaki
+PaleGoldenrod LightGoldenrodYellow LightYellow yellow gold
+LightGoldenrod goldenrod DarkGoldenrod RosyBrown IndianRed
+SaddleBrown sienna peru burlywood beige
+wheat SandyBrown tan chocolate firebrick
+brown DarkSalmon salmon LightSalmon orange
+DarkOrange coral LightCoral tomato OrangeRed
+red HotPink DeepPink pink LightPink
+PaleVioletRed maroon MediumVioletRed VioletRed magenta
+violet plum orchid MediumOrchid DarkOrchid
+DarkViolet BlueViolet purple MediumPurple thistle
+DarkGrey DarkBlue DarkCyan DarkMagenta DarkRed
+LightGreen
+@end verbatim
+
+
@subsubheading Color names with a numerical suffix
+
+Für die folgenden Bezeichnungen kann das Suffix N durch eine
+Zahl von 1--4 ersetzt werden.
+
+@verbatim
+snowN seashellN AntiqueWhiteN bisqueN PeachPuffN
+NavajoWhiteN LemonChiffonN cornsilkN ivoryN honeydewN
+LavenderBlushN MistyRoseN azureN SlateBlueN RoyalBlueN
+blueN DodgerBlueN SteelBlueN DeepSkyBlueN SkyBlueN
+LightSkyBlueN LightSteelBlueN LightBlueN LightCyanN PaleTurquoiseN
+CadetBlueN turquoiseN cyanN aquamarineN DarkSeaGreenN
+SeaGreenN PaleGreenN SpringGreenN greenN chartreuseN
+OliveDrabN DarkOliveGreenN khakiN LightGoldenrodN LightYellowN
+yellowN goldN goldenrodN DarkGoldenrodN RosyBrownN
+IndianRedN siennaN burlywoodN wheatN tanN
+chocolateN firebrickN brownN salmonN LightSalmonN
+orangeN DarkOrangeN coralN tomatoN OrangeRedN
+redN DeepPinkN HotPinkN pinkN LightPinkN
+PaleVioletRedN maroonN VioletRedN magentaN orchidN
+plumN MediumOrchidN DarkOrchidN purpleN MediumPurpleN
+thistleN
+@end verbatim
+
+
@subsubheading Grey Scale
+
+Eine Grauskala kann mit der Bezeichnung
+
+@example
+greyN
+@end example
+
+@noindent
+erstellt werden, wobei N eine Zahl von 0--100 darstellt.
+
+
@node The Feta font
@appendixsec The Feta font
-UNTRANSLATED NODE: IGNORE ME
+@cindex Feta font
+@cindex Font, Feta
+
+Die folgenden Symbole sind als Emmentaler-Schriftart verfügbar; auf sie
+kann direkt zugegriffen werden, indem man die übliche Textbeschriftung
+benutzt. @code{\musicglyph} greift direkt auf die Notationsschriftart
+zu (bspw. @code{g^\markup @{
+\musicglyph #"scripts.segno" @}}). Siehe auch @ref{Formatting text}.
+
+@lilypondfile[noindent]{font-table.ly}
+
@node Note head styles
@appendixsec Note head styles
-UNTRANSLATED NODE: IGNORE ME
+@cindex Notenkopfarten
+@cindex Arten von Notenköpfen
+@cindex Stile, Notenköpfe
+
+Folgende Stile können zur Darstellung der Notenköpfe verwendet werden:
+
+@lilypondfile[noindent]{note-head-style.ly}
+
+@include markup-commands.tely
+
+@include markup-list-commands.tely
+
+@node List of articulations
+@appendixsec List of articulations
+
+@cindex Akzent
+@cindex Marcato
+@cindex Staccatissimo
+@cindex Espressivo
+@cindex Fermate
+@cindex Gedämpft
+@cindex Staccato
+@cindex Portato
+@cindex Tenuto
+@cindex Aufstrich
+@cindex Abstrich
+@cindex Fußbezeichnung
+@cindex Orgelpedalbezeichnung
+@cindex Triller
+@cindex Offen
+@cindex Flageolet
+@cindex Praller
+@cindex Mordent
+@cindex Doppelpraller
+@cindex Prallermordent
+@cindex Fingersatz
+@cindex Daumenbezeichnung
+@cindex Segno
+@cindex Coda
+@cindex Varcoda
+
+@lilypondfile[quote,texidoc]{script-chart.ly}
+
+
+@node Percussion notes
+@appendixsec Percussion notes
+
+@lilypondfile[quote]{percussion-chart.ly}
+
+
+@node All context properties
+@appendixsec All context properties
+
+@include context-properties.tely
+
+
+@node Layout properties
+@appendixsec Layout properties
+
+@include layout-properties.tely
+
+
+@node Identifiers
+@appendixsec Identifiers
+
+@include identifiers.tely
+
+
+@node Scheme functions
+@appendixsec Scheme functions
+@include scheme-functions.tely
--- SKELETON FILE --
-When you actually translate this file, please remove these lines as
-well as all `UNTRANSLATED NODE: IGNORE ME' lines.
projects / lilypond.git / blobdiff