-2- Introduction and beginning of Application Usage
411 user/preface.itely
-3704 user/introduction.itely
+3699 user/introduction.itely
390 user/lilypond-program.tely
-1674 user/install.itely (partial translation)
-947 user/setup.itely
+1681 user/install.itely (partial translation)
+1012 user/setup.itely
2879 user/running.itely
-10005 total
+10072 total
-3- Learning manual
9800 user/fundamental.itely -- Fundamental concepts
-12228 user/tweaks.itely -- Tweaking output
+12262 user/tweaks.itely -- Tweaking output
3005 user/working.itely -- Working on LilyPond files
483 user/templates.itely -- Templates
-25516 total
+25550 total
-4- Notation reference
544 user/lilypond.tely
91 user/notation.itely -- Musical notation
2822 user/pitches.itely
-6591 user/rhythms.itely
-944 user/expressive.itely
-976 user/repeats.itely
-1078 user/simultaneous.itely
+6657 user/rhythms.itely
+843 user/expressive.itely
+940 user/repeats.itely
+883 user/simultaneous.itely
2310 user/staff.itely
827 user/editorial.itely
1851 user/text.itely
-68 user/specialist.itely -- Specialist notation
+73 user/specialist.itely -- Specialist notation
2745 user/vocal.itely
-1530 user/chords.itely
+1303 user/chords.itely
702 user/piano.itely
546 user/percussion.itely
826 user/guitar.itely
66 user/strings.itely
242 user/bagpipes.itely
3474 user/ancient.itely
-4971 user/input.itely -- Input syntax
+5399 user/input.itely -- Input syntax
2164 user/non-music.itely -- Non-musical notation
8400 user/spacing.itely -- Spacing issues
-6951 user/changing-defaults.itely -- Changing defaults
+6855 user/changing-defaults.itely -- Changing defaults
5213 user/programming-interface.itely -- Interfaces for programmers
-894 user/notation-appendices.itely -- Notation manual tables
+1127 user/notation-appendices.itely -- Notation manual tables
250 user/cheatsheet.itely -- Cheat sheet
-57076 total
+57153 total
-5- Application usage
3175 user/lilypond-book.itely -- LilyPond-book
-975 user/converters.itely -- Converting from other formats
-4150 total
+995 user/converters.itely -- Converting from other formats
+4170 total
-6- Appendices whose translation is optional
299 user/literature.itely
- <p><i>Last updated Sat Jun 28 13:59:30 UTC 2008
+ <p><i>Last updated Sat Jul 19 15:59:20 UTC 2008
</i></p>
<html>
<!-- This page is automatically generated by translation-status.py from
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1 Einleitung<br>(3704)</td>
+ <td>1 Einleitung<br>(3699)</td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #dfef77">partially (65 %)</span></td>
- <td><span style="background-color: #83fe2c">partially</span></td>
+ <td><span style="background-color: #9eff30">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>4 Die Ausgabe verändern<br>(12228)</td>
+ <td>4 Die Ausgabe verändern<br>(12262)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (18 %)</span></td>
+ <td><span style="background-color: #dfef77">partially (17 %)</span></td>
<td><span style="background-color: #ff6f57">partially</span></td>
<td>pre-GDP</td>
</tr>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #acff31">partially</span></td>
+ <td><span style="background-color: #b2fe32">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1 Installieren<br>(1674)</td>
+ <td>1 Installieren<br>(1681)</td>
<td></td>
<td></td>
<td><span style="background-color: #d0f0f8">no</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2 Setup<br>(947)</td>
+ <td>2 Setup<br>(1012)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #54ff26">partially</span></td>
+ <td><span style="background-color: #dfef77">partially (69 %)</span></td>
+ <td><span style="background-color: #68ff28">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>5 Von anderen Formaten konvertieren<br>(975)</td>
+ <td>5 Von anderen Formaten konvertieren<br>(995)</td>
<td></td>
<td></td>
<td><span style="background-color: #d0f0f8">no</span></td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
+ <td><span style="background-color: #2cff20">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.2 Rhythmus<br>(6591)</td>
+ <td>1.2 Rhythmus<br>(6657)</td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #dfef77">partially (86 %)</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.3 Ausdrucksbezeichnungen<br>(944)</td>
+ <td>1.3 Ausdrucksbezeichnungen<br>(843)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (70 %)</span></td>
+ <td><span style="background-color: #1fff1f">yes</span></td>
<td><span style="background-color: #ff6f57">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.4 Wiederholungszeichen<br>(976)</td>
+ <td>1.4 Wiederholungszeichen<br>(940)</td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #1fff1f">yes</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.5 Gleichzeitig erscheinende Noten<br>(1078)</td>
+ <td>1.5 Gleichzeitig erscheinende Noten<br>(883)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (96 %)</span></td>
+ <td><span style="background-color: #dfef77">partially (81 %)</span></td>
<td><span style="background-color: #ff6f57">partially</span></td>
<td>pre-GDP</td>
</tr>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2 Spezielle Notation<br>(68)</td>
+ <td>2 Spezielle Notation<br>(73)</td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
+ <td><span style="background-color: #39ff22">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.2 Tasteninstrumente<br>(1044)</td>
+ <td>2.2 Tasteninstrumente<br>(561)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (72 %)</span></td>
+ <td><span style="background-color: #dfef77">partially (90 %)</span></td>
<td><span style="background-color: #ff6d58">partially</span></td>
<td>pre-GDP</td>
</tr>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.4 Saiteninstrumente mit Bünden<br>(1063)</td>
+ <td>2.4 Saiteninstrumente mit Bünden<br>(857)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (90 %)</span></td>
+ <td><span style="background-color: #dfef77">partially (32 %)</span></td>
<td><span style="background-color: #ff6d58">partially</span></td>
<td>pre-GDP</td>
</tr>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.7 Notation von Akkorden<br>(1530)</td>
+ <td>2.7 Notation von Akkorden<br>(1303)</td>
<td>Till Rettig</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (47 %)</span></td>
+ <td><span style="background-color: #dfef77">partially (65 %)</span></td>
<td><span style="background-color: #ff6f57">partially</span></td>
<td>pre-GDP</td>
</tr>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>3 Die Eingabe-Syntax<br>(4971)</td>
+ <td>3 Die Eingabe-Syntax<br>(5399)</td>
<td></td>
<td></td>
<td><span style="background-color: #d0f0f8">no</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>5 Standardeinstellungen verändern<br>(6951)</td>
+ <td>5 Standardeinstellungen verändern<br>(6855)</td>
<td></td>
<td></td>
<td><span style="background-color: #d0f0f8">no</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>B Notationsübersicht<br>(894)</td>
+ <td>B Notationsübersicht<br>(1127)</td>
<td>Till Rettig</td>
<td></td>
<td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #68ff28">partially</span></td>
+ <td><span style="background-color: #cdfe36">partially</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <p><i>Last updated Sat Jun 28 13:59:30 UTC 2008
+ <p><i>Last updated Sat Jul 19 15:59:20 UTC 2008
</i></p>
<html>
<!-- This page is automatically generated by translation-status.py from
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1 Introducción<br>(3704)</td>
+ <td>1 Introducción<br>(3699)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #dfef77">parcialmente (65 %)</span></td>
- <td><span style="background-color: #76fe2a">parcialmente</span></td>
+ <td><span style="background-color: #97ff2f">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #25fe1f">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>4 Trucar la salida<br>(12228)</td>
+ <td>4 Trucar la salida<br>(12262)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #39ff22">parcialmente</span></td>
+ <td><span style="background-color: #40fe23">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1 Instalar<br>(1674)</td>
+ <td>1 Instalar<br>(1681)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #dfef77">parcialmente (10 %)</span></td>
- <td><span style="background-color: #c0ff34">parcialmente</span></td>
+ <td><span style="background-color: #d4ff37">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2 Instalación (Setup)<br>(947)</td>
+ <td>2 Instalación (Setup)<br>(1012)</td>
<td>Francisco Vila</td>
<td></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #dfef77">parcialmente (69 %)</span></td>
+ <td><span style="background-color: #33ff21">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>5 Conversión desde otros formatos<br>(975)</td>
+ <td>5 Conversión desde otros formatos<br>(995)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #39ff22">parcialmente</span></td>
+ <td><span style="background-color: #40fe23">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
</table>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #2cff20">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.2 Duraciones<br>(6591)</td>
+ <td>1.2 Duraciones<br>(6657)</td>
<td>Francisco Vila</td>
<td></td>
- <td><span style="background-color: #dfef77">parcialmente (95 %)</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #dfef77">parcialmente (96 %)</span></td>
+ <td><span style="background-color: #25fe1f">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.3 Expresiones<br>(944)</td>
+ <td>1.3 Expresiones<br>(843)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #acff31">parcialmente</span></td>
+ <td><span style="background-color: #f6fe3b">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.4 Repeticiones<br>(976)</td>
+ <td>1.4 Repeticiones<br>(940)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #7dff2b">parcialmente</span></td>
+ <td><span style="background-color: #efff3a">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>1.5 Notas simultáneas<br>(1078)</td>
+ <td>1.5 Notas simultáneas<br>(883)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #b9ff33">parcialmente</span></td>
+ <td><span style="background-color: #f6fe3b">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2 Notación especializada<br>(68)</td>
+ <td>2 Notación especializada<br>(73)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #ffef3f">parcialmente</span></td>
+ <td><span style="background-color: #ffed40">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #dfef77">parcialmente (96 %)</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #25fe1f">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.2 Instrumentos de teclado<br>(1044)</td>
+ <td>2.2 Instrumentos de teclado<br>(561)</td>
<td>Francisco Vila</td>
<td></td>
- <td><span style="background-color: #dfef77">parcialmente (72 %)</span></td>
+ <td><span style="background-color: #dfef77">parcialmente (90 %)</span></td>
<td><span style="background-color: #ff6d58">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.4 Instrumentos de cuerda con trastes<br>(1063)</td>
+ <td>2.4 Instrumentos de cuerda con trastes<br>(857)</td>
<td>Francisco Vila</td>
<td></td>
- <td><span style="background-color: #dfef77">parcialmente (98 %)</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #dfef77">parcialmente (82 %)</span></td>
+ <td><span style="background-color: #ffbf47">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>2.7 Notación de acordes<br>(1530)</td>
+ <td>2.7 Notación de acordes<br>(1303)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #62ff28">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>3 Sintaxis de escritura<br>(4971)</td>
+ <td>3 Sintaxis de escritura<br>(5399)</td>
<td></td>
<td></td>
<td><span style="background-color: #d0f0f8">ninguno</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>5 Cambiar los valores por omisión<br>(6951)</td>
+ <td>5 Cambiar los valores por omisión<br>(6855)</td>
<td>Francisco Vila</td>
<td></td>
- <td><span style="background-color: #dfef77">parcialmente (92 %)</span></td>
- <td><span style="background-color: #1fff1f">sí</span></td>
+ <td><span style="background-color: #dfef77">parcialmente (93 %)</span></td>
+ <td><span style="background-color: #25fe1f">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
<td>pre-GDP</td>
</tr>
<tr align="left">
- <td>B Tablas del manual sobre notación<br>(894)</td>
+ <td>B Tablas del manual sobre notación<br>(1127)</td>
<td>Francisco Vila</td>
<td></td>
<td><span style="background-color: #1fff1f">sí</span></td>
- <td><span style="background-color: #39ff22">parcialmente</span></td>
+ <td><span style="background-color: #a5ff31">parcialmente</span></td>
<td>pre-GDP</td>
</tr>
<tr align="left">
- <p><i>Last updated Sat Jun 28 13:59:30 UTC 2008
+ <p><i>Last updated Sat Jul 19 15:59:20 UTC 2008
</i></p>
<html>
<!-- This page is automatically generated by translation-status.py from
<table align="center" border="2">
<tr align="center">
- <th>GNU LilyPond --- manuel d'initiation</th> <th>Translators</th>
- <th>Translation checkers</th>
- <th>Translated</th>
- <th>Up to date</th>
- <th>Other info</th>
+ <th>GNU LilyPond --- manuel d'initiation</th> <th>Traducteurs</th>
+ <th>Relecteurs</th>
+ <th>Traduit</th>
+ <th>À jour</th>
+ <th>Autres informations</th>
</tr>
<tr align="left">
<td>Section titles<br>(412)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>Préface<br>(411)</td>
<td>Valentin Villenave</td>
<td>Ludovic Sardain</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1 Introduction<br>(3704)</td>
+ <td>1 Introduction<br>(3699)</td>
<td>Ludovic Sardain<br>
John Mandereau</td>
<td>Jean-Charles Malahieude<br>
Jean-Yves Baudais</td>
- <td><span style="background-color: #dfef77">partially (65 %)</span></td>
- <td><span style="background-color: #83fe2c">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #9eff30">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>2 Tutoriel<br>(5652)</td>
<td>Jean-Charles Malahieude<br>
Valentin Villenave<br>
John Mandereau</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff8c51">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff8c51">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>3 Concepts fondamentaux<br>(9800)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (39 %)</span></td>
- <td><span style="background-color: #fff53e">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (39 %)</span></td>
+ <td><span style="background-color: #fff23f">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>4 Retouche des partitions<br>(12228)</td>
+ <td>4 Retouche des partitions<br>(12262)</td>
<td>Valentin Villenave<br>
Nicolas Klutchnikoff</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (18 %)</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (17 %)</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>5 Travail sur des projets LilyPond<br>(3005)</td>
Valentin Villenave<br>
John Mandereau<br>
Jean-Charles Malahieude</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #acff31">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #b2fe32">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>A Modèles<br>(483)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>B Tutoriel Scheme<br>(960)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
</table>
<p></p>
<table align="center" border="2">
<tr align="center">
- <th>GNU LilyPond --- utilisation des programmes</th> <th>Translators</th>
- <th>Translation checkers</th>
- <th>Translated</th>
- <th>Up to date</th>
- <th>Other info</th>
+ <th>GNU LilyPond --- utilisation du programme</th> <th>Traducteurs</th>
+ <th>Relecteurs</th>
+ <th>Traduit</th>
+ <th>À jour</th>
+ <th>Autres informations</th>
</tr>
<tr align="left">
<td>Section titles<br>(390)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1 Installation<br>(1674)</td>
+ <td>1 Installation<br>(1681)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (10 %)</span></td>
- <td><span style="background-color: #b9ff33">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (10 %)</span></td>
+ <td><span style="background-color: #c7ff35">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2 Environnement de travail<br>(947)</td>
+ <td>2 Environnement de travail<br>(1012)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>3 Exécution de LilyPond<br>(2879)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>4 @command{lilypond-book} : association musique-texte<br>(3175)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>5 Conversion à partir d'autres formats<br>(975)</td>
+ <td>5 Conversion à partir d'autres formats<br>(995)</td>
<td>Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #40fe23">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #47ff24">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
</table>
<p></p>
<table align="center" border="2">
<tr align="center">
- <th>GNU LilyPond --- manuel de notation</th> <th>Translators</th>
- <th>Translation checkers</th>
- <th>Translated</th>
- <th>Up to date</th>
- <th>Other info</th>
+ <th>GNU LilyPond --- manuel de notation</th> <th>Traducteurs</th>
+ <th>Relecteurs</th>
+ <th>Traduit</th>
+ <th>À jour</th>
+ <th>Autres informations</th>
</tr>
<tr align="left">
<td>Section titles<br>(544)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>1 Notation musicale générale<br>(91)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #2cff20">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>1.1 Hauteurs<br>(2822)</td>
<td>Frédéric Chiasson</td>
<td>Valentin Villenave<br>
Jean-Charles Malahieude</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1.2 Rythme<br>(6591)</td>
+ <td>1.2 Rythme<br>(6657)</td>
<td>Frédéric Chiasson</td>
<td>Valentin Villenave<br>
Jean-Charles Malahieude</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1.3 Signes d'interprétation<br>(944)</td>
+ <td>1.3 Signes d'interprétation<br>(843)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1.4 Répétitions<br>(976)</td>
+ <td>1.4 Répétitions et reprises<br>(940)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>1.5 Notes simultanées<br>(1078)</td>
+ <td>1.5 Notes simultanées<br>(883)</td>
<td>Frédéric Chiasson<br>
Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>1.6 Notation sur la portée<br>(2310)</td>
<td>Valentin Villenave<br>
Jean-Charles Malahieude</td>
<td>John Mandereau</td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>1.7 Notation éditoriale<br>(827)</td>
<td>Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>1.8 Texte<br>(1851)</td>
<td>Jean-Charles Malahieude</td>
<td>Valentin Villenave<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (83 %)</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (83 %)</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2 Notation spécialiste<br>(68)</td>
+ <td>2 Notation spécialiste<br>(73)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #39ff22">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>2.1 Musique vocale<br>(2745)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude</td>
- <td><span style="background-color: #dfef77">partially (96 %)</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (96 %)</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2.2 Keyboard instruments<br>(1044)</td>
+ <td>2.2 Instruments à clavier<br>(561)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (72 %)</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (90 %)</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2.3 Unfretted string instruments<br>(173)</td>
+ <td>2.3 Cordes frottées<br>(173)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (36 %)</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (36 %)</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2.4 Fretted string instruments<br>(1063)</td>
+ <td>2.4 Instruments à cordes frettées<br>(857)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (90 %)</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (32 %)</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>2.5 Percussions<br>(546)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (97 %)</span></td>
- <td><span style="background-color: #ff6d58">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (97 %)</span></td>
+ <td><span style="background-color: #ff6d58">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2.6 Wind instruments<br>(279)</td>
+ <td>2.6 Instruments à vent<br>(279)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (75 %)</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (75 %)</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>2.7 Chord notation<br>(1530)</td>
+ <td>2.7 Notation des accords<br>(1303)</td>
<td>Valentin Villenave</td>
<td>Jean-Charles Malahieude<br>
John Mandereau</td>
- <td><span style="background-color: #dfef77">partially (47 %)</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (65 %)</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>2.8 Notations anciennes<br>(3474)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (73 %)</span></td>
- <td><span style="background-color: #ff6f57">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (73 %)</span></td>
+ <td><span style="background-color: #ff6f57">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>3 Syntaxe d'entrée<br>(4971)</td>
+ <td>3 Syntaxe d'entrée<br>(5399)</td>
<td>Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (4 %)</span></td>
- <td><span style="background-color: #ff8a51">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (3 %)</span></td>
+ <td><span style="background-color: #ff8652">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>4 Gestion de l'espace<br>(8400)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>5 Modification des réglages prédéfinis<br>(6951)</td>
+ <td>5 Modification des réglages prédéfinis<br>(6855)</td>
<td>Valentin Villenave</td>
<td>Gilles Thibault</td>
- <td><span style="background-color: #dfef77">partially (76 %)</span></td>
- <td><span style="background-color: #ffb249">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (77 %)</span></td>
+ <td><span style="background-color: #ffb249">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>6 Interfaces pour les programmeurs<br>(5213)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>A Bibliographie<br>(299)</td>
<td></td>
<td></td>
- <td><span style="background-color: #d0f0f8">no</span></td>
+ <td><span style="background-color: #d0f0f8">non</span></td>
<td></td>
- <td>pre-GDP</td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
- <td>B Tables du manuel de notation<br>(894)</td>
+ <td>B Tables du manuel de notation<br>(1127)</td>
<td>Frédéric Chiasson<br>
Jean-Charles Malahieude</td>
<td></td>
- <td><span style="background-color: #dfef77">partially (14 %)</span></td>
- <td><span style="background-color: #68ff28">partially</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #dfef77">partiellement (12 %)</span></td>
+ <td><span style="background-color: #cdfe36">partiellement</span></td>
+ <td>pré-GDP</td>
</tr>
<tr align="left">
<td>C Aide-mémoire<br>(250)</td>
<td>Valentin Villenave</td>
<td></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td><span style="background-color: #1fff1f">yes</span></td>
- <td>pre-GDP</td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td><span style="background-color: #1fff1f">oui</span></td>
+ <td>pré-GDP</td>
</tr>
</table>
<p></p>
\dimHairpin,
\sustainUp -> \sustainOff, \sustainDown -> \sustainOn
\sostenutoDown -> \sostenutoOn, \sostenutoUp -> \sostenutoOff
+2.11.53: infinite-spacing-height -> extra-spacing-height
@end example
@item
is finished.
</p>
- <p><i>Last updated Sat Jun 28 13:59:30 UTC 2008
+ <p><i>Last updated Sat Jul 19 15:59:20 UTC 2008
</i></p>
<table align="center" border="2">
<tr align="center">
</td>
</tr>
<tr align="left">
- <td>1 Introduction<br>(3704)</td>
+ <td>1 Introduction<br>(3699)</td>
<td>Ludovic Sardain<br>
John Mandereau<br>
<small>Jean-Charles Malahieude<br>
Jean-Yves Baudais</small><br>
- <span style="background-color: #dfef77">partially translated (65 %)</span><br>
- <span style="background-color: #83fe2c">partially up to date</span><br>
+ <span style="background-color: #1fff1f">translated</span><br>
+ <span style="background-color: #9eff30">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #dfef77">partially translated (65 %)</span><br>
- <span style="background-color: #83fe2c">partially up to date</span><br>
+ <span style="background-color: #9eff30">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #dfef77">partially translated (65 %)</span><br>
- <span style="background-color: #76fe2a">partially up to date</span><br>
+ <span style="background-color: #97ff2f">partially up to date</span><br>
</td>
</tr>
<tr align="left">
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
<span style="background-color: #dfef77">partially translated (39 %)</span><br>
- <span style="background-color: #fff53e">partially up to date</span><br>
+ <span style="background-color: #fff23f">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #dfef77">partially translated (7 %)</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #25fe1f">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>4 Tweaking output<br>(12228)</td>
+ <td>4 Tweaking output<br>(12262)</td>
<td>Valentin Villenave<br>
Nicolas Klutchnikoff<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
- <span style="background-color: #dfef77">partially translated (18 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (17 %)</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (18 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (17 %)</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #39ff22">partially up to date</span><br>
+ <span style="background-color: #40fe23">partially up to date</span><br>
</td>
</tr>
<tr align="left">
John Mandereau<br>
Jean-Charles Malahieude</small><br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #acff31">partially up to date</span><br>
+ <span style="background-color: #b2fe32">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #acff31">partially up to date</span><br>
+ <span style="background-color: #b2fe32">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
</td>
</tr>
<tr align="left">
- <td>1 Install<br>(1674)</td>
+ <td>1 Install<br>(1681)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude<br>
<span style="background-color: #dfef77">partially translated (10 %)</span><br>
- <span style="background-color: #b9ff33">partially up to date</span><br>
+ <span style="background-color: #c7ff35">partially up to date</span><br>
</td>
<td> <span style="background-color: #d0f0f8">not translated</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #dfef77">partially translated (10 %)</span><br>
- <span style="background-color: #c0ff34">partially up to date</span><br>
+ <span style="background-color: #d4ff37">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>2 Setup<br>(947)</td>
+ <td>2 Setup<br>(1012)</td>
<td> <span style="background-color: #d0f0f8">not translated</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #54ff26">partially up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (69 %)</span><br>
+ <span style="background-color: #68ff28">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
- <span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (69 %)</span><br>
+ <span style="background-color: #33ff21">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>5 Converting from other formats<br>(975)</td>
+ <td>5 Converting from other formats<br>(995)</td>
<td>Jean-Charles Malahieude<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #40fe23">partially up to date</span><br>
+ <span style="background-color: #47ff24">partially up to date</span><br>
</td>
<td> <span style="background-color: #d0f0f8">not translated</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #39ff22">partially up to date</span><br>
+ <span style="background-color: #40fe23">partially up to date</span><br>
</td>
</tr>
</table>
<td>John Mandereau<br>
Jean-Charles Malahieude<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #2cff20">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #2cff20">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #2cff20">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>1.2 Rhythms<br>(6591)</td>
+ <td>1.2 Rhythms<br>(6657)</td>
<td>Frédéric Chiasson<br>
<small>Valentin Villenave<br>
Jean-Charles Malahieude</small><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
- <span style="background-color: #dfef77">partially translated (95 %)</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (96 %)</span><br>
+ <span style="background-color: #25fe1f">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>1.3 Expressive marks<br>(944)</td>
+ <td>1.3 Expressive marks<br>(843)</td>
<td>Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (70 %)</span><br>
+ <span style="background-color: #1fff1f">translated</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #acff31">partially up to date</span><br>
+ <span style="background-color: #f6fe3b">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>1.4 Repeats<br>(976)</td>
+ <td>1.4 Repeats<br>(940)</td>
<td>Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #7dff2b">partially up to date</span><br>
+ <span style="background-color: #efff3a">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>1.5 Simultaneous notes<br>(1078)</td>
+ <td>1.5 Simultaneous notes<br>(883)</td>
<td>Frédéric Chiasson<br>
Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (96 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (81 %)</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #b9ff33">partially up to date</span><br>
+ <span style="background-color: #f6fe3b">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>2 Specialist notation<br>(68)</td>
+ <td>2 Specialist notation<br>(73)</td>
<td>John Mandereau<br>
Jean-Charles Malahieude<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #39ff22">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #39ff22">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #ffef3f">partially up to date</span><br>
+ <span style="background-color: #ffed40">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
<td>Francisco Vila<br>
<span style="background-color: #dfef77">partially translated (96 %)</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #25fe1f">partially up to date</span><br>
</td>
</tr>
<tr align="left">
- <td>2.2 Keyboard instruments<br>(1044)</td>
+ <td>2.2 Keyboard instruments<br>(561)</td>
<td>Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
- <span style="background-color: #dfef77">partially translated (72 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (90 %)</span><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (72 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (90 %)</span><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
- <span style="background-color: #dfef77">partially translated (72 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (90 %)</span><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
</tr>
</td>
</tr>
<tr align="left">
- <td>2.4 Fretted string instruments<br>(1063)</td>
+ <td>2.4 Fretted string instruments<br>(857)</td>
<td>Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
- <span style="background-color: #dfef77">partially translated (90 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (32 %)</span><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (90 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (32 %)</span><br>
<span style="background-color: #ff6d58">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
- <span style="background-color: #dfef77">partially translated (98 %)</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (82 %)</span><br>
+ <span style="background-color: #ffbf47">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>2.7 Chord notation<br>(1530)</td>
+ <td>2.7 Chord notation<br>(1303)</td>
<td>Valentin Villenave<br>
<small>Jean-Charles Malahieude<br>
John Mandereau</small><br>
- <span style="background-color: #dfef77">partially translated (47 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (65 %)</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Till Rettig<br>
- <span style="background-color: #dfef77">partially translated (47 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (65 %)</span><br>
<span style="background-color: #ff6f57">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #62ff28">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>3 Input syntax<br>(4971)</td>
+ <td>3 Input syntax<br>(5399)</td>
<td>Jean-Charles Malahieude<br>
- <span style="background-color: #dfef77">partially translated (4 %)</span><br>
- <span style="background-color: #ff8a51">partially up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (3 %)</span><br>
+ <span style="background-color: #ff8652">partially up to date</span><br>
</td>
<td> <span style="background-color: #d0f0f8">not translated</span><br>
</td>
</td>
</tr>
<tr align="left">
- <td>5 Changing defaults<br>(6951)</td>
+ <td>5 Changing defaults<br>(6855)</td>
<td>Valentin Villenave<br>
<small>Gilles Thibault</small><br>
- <span style="background-color: #dfef77">partially translated (76 %)</span><br>
+ <span style="background-color: #dfef77">partially translated (77 %)</span><br>
<span style="background-color: #ffb249">partially up to date</span><br>
</td>
<td> <span style="background-color: #d0f0f8">not translated</span><br>
</td>
<td>Francisco Vila<br>
- <span style="background-color: #dfef77">partially translated (92 %)</span><br>
- <span style="background-color: #1fff1f">up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (93 %)</span><br>
+ <span style="background-color: #25fe1f">partially up to date</span><br>
</td>
</tr>
<tr align="left">
</td>
</tr>
<tr align="left">
- <td>B Notation manual tables<br>(894)</td>
+ <td>B Notation manual tables<br>(1127)</td>
<td>Frédéric Chiasson<br>
Jean-Charles Malahieude<br>
- <span style="background-color: #dfef77">partially translated (14 %)</span><br>
- <span style="background-color: #68ff28">partially up to date</span><br>
+ <span style="background-color: #dfef77">partially translated (12 %)</span><br>
+ <span style="background-color: #cdfe36">partially up to date</span><br>
</td>
<td>Till Rettig<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #68ff28">partially up to date</span><br>
+ <span style="background-color: #cdfe36">partially up to date</span><br>
</td>
<td>Francisco Vila<br>
<span style="background-color: #1fff1f">translated</span><br>
- <span style="background-color: #39ff22">partially up to date</span><br>
+ <span style="background-color: #a5ff31">partially up to date</span><br>
</td>
</tr>
<tr align="left">
popular modern editors have UTF-8 support, for example, vim, Emacs,
jEdit, and GEdit do. All MS Windows systems later than NT use
Unicode as their native character encoding, so even Notepad can
-edit and save a file in UTF-8 format. A more functional
+edit and save a file in UTF-8 format. A more functional
alternative for Windows is BabelPad.
If a LilyPond input file containing a non-ASCII character is not
Here is an example showing Cyrillic, Hebrew and Portuguese
text:
-@lilypond[verbatim,quote]
+@lilypond[quote]
+%c No verbatim here as the code does not display correctly in PDF
% Cyrillic
bulgarian = \lyricmode {
Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
@menu
* Creating MIDI files::
-* What goes into the MIDI output?::
* MIDI block::
-* MIDI instrument names::
+* What goes into the MIDI output?::
* Repeats in MIDI::
* Controlling MIDI dynamics::
-* Microtones in MIDI::
@end menu
@node Creating MIDI files
@subsection Creating MIDI files
-To create a MIDI output file from a LilyPond input file, add a @code{\midi} block
-to a score, for example,
+To create a MIDI output file from a LilyPond input file, add a
+@code{\midi} block to a score, for example,
@example
\score @{
of specifying the inital or overall MIDI tempo is described below,
see @ref{MIDI block}.
+@unnumberedsubsubsec Instrument names
+
+@cindex instrument names
+@funindex Staff.midiInstrument
+
+The MIDI instrument to be used is specified by setting the
+@code{Staff.midiInstrument} property to the instrument name.
+The name should be chosen from the list in @ref{MIDI instruments}.
+
+@example
+\new Staff @{
+ \set Staff.midiInstrument = "glockenspiel"
+ @var{...notes...}
+@}
+@end example
+
+@example
+\new Staff \with @{midiInstrument = "cello"@} @{
+ @var{...notes...}
+@}
+@end example
+
+If the selected instrument does not exactly match an instrument from
+the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
+instrument is used.
+
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
output. Players that are known to work include MS Windows Media
Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
-@node What goes into the MIDI output?
-@subsection What goes into the MIDI output?
-
-@c TODO Check grace notes - timing is suspect?
-
-@unnumberedsubsubsec Supported in MIDI
-
-The following items of notation are reflected in the MIDI output:
-
-@itemize
-@item Pitches
-@item Microtones
-@item Chords entered as chord names
-@item Rhythms entered as note durations, including tuplets
-@item Tremolos entered without @q{@code{:}[@var{number}]}
-@item Ties
-@item Dynamic marks
-@item Crescendi, decrescendi over multiple notes
-@item Tempo changes entered with a tempo marking
-@end itemize
-
-@unnumberedsubsubsec Unsupported in MIDI
-
-The following items of notation have no effect on the MIDI output:
-
-@itemize
-@item Rhythms entered as annotations, e.g. swing
-@item Tempo changes entered as annotations with no tempo marking
-@item Staccato and other articulations and ornamentations
-@item Slurs and Phrasing slurs
-@item Crescendi, decrescendi over a single note
-@item Tremolos entered with @q{@code{:}[@var{number}]}
-@item Figured bass
-@c TODO Check Lyrics
-@item Lyrics
-@end itemize
-
-
@node MIDI block
@subsection MIDI block
@cindex MIDI block
@}
@end example
-@node MIDI instrument names
-@subsection MIDI instrument names
+@node What goes into the MIDI output?
+@subsection What goes into the MIDI output?
-@cindex instrument names
-@funindex Staff.midiInstrument
+@c TODO Check grace notes - timing is suspect?
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
+@unnumberedsubsubsec Supported in MIDI
-@example
-\set Staff.midiInstrument = "glockenspiel"
-@var{...notes...}
-@end example
+@cindex Pitches in MIDI
+@cindex MIDI, Pitches
+@cindex Quarter tones in MIDI
+@cindex MIDI, quarter tones
+@cindex Microtones in MIDI
+@cindex MIDI, microtones
+@cindex Chord names in MIDI
+@cindex MIDI, chord names
+@cindex Rhythms in MIDI
+@cindex MIDI, Rhythms
+@c TODO etc
-If the selected instrument does not exactly match an instrument from
-the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
-instrument is used.
+The following items of notation are reflected in the MIDI output:
+
+@itemize
+@item Pitches
+@item Quarter tones (See @ref{Accidentals}. Rendering needs a
+player that supports pitch bend.)
+@item Chords entered as chord names
+@item Rhythms entered as note durations, including tuplets
+@item Tremolos entered without @q{@code{:}[@var{number}]}
+@item Ties
+@item Dynamic marks
+@item Crescendi, decrescendi over multiple notes
+@item Tempo changes entered with a tempo marking
+@end itemize
+
+@unnumberedsubsubsec Unsupported in MIDI
+
+@c TODO index as above
+
+The following items of notation have no effect on the MIDI output:
+
+@itemize
+@item Rhythms entered as annotations, e.g. swing
+@item Tempo changes entered as annotations with no tempo marking
+@item Staccato and other articulations and ornamentations
+@item Slurs and Phrasing slurs
+@item Crescendi, decrescendi over a single note
+@item Tremolos entered with @q{@code{:}[@var{number}]}
+@item Figured bass
+@c TODO Check Lyrics
+@item Lyrics
+@end itemize
@node Repeats in MIDI
required fraction, and setting
@code{Score.dynamicAbsoluteVolumeFunction} to this function.
-For example, if a @notation{rinforzando} dynamic marking, rfz,
-has been defined with @code{make-dynamic-script}, this will not
+For example, if a @notation{rinforzando} dynamic marking,
+@code{\rfz}, is required, this will not by default
have any effect on the MIDI volume, as this dynamic marking is not
-included in the default set. The following example shows how the
-MIDI volume for this new dynamic marking can be added. The Scheme
+included in the default set. Similarly, if a new dynamic marking
+has been defined with @code{make-dynamic-script} that too will not
+be included in the default set. The following example shows how the
+MIDI volume for such dynamic markings might be added. The Scheme
function sets the fraction to 0.9 if a dynamic mark of rfz is
found, or calls the default function otherwise.
0.9
(default-dynamic-absolute-volume dynamic)))
-rfz = #(make-dynamic-script "rfz")
-
\score {
\new Staff {
\set Staff.midiInstrument = "cello"
}
@end lilypond
+@ignore
+@c Delete when satisfied this is adequately covered elsewhere -td
+
@node Microtones in MIDI
@subsection Microtones in MIDI
\midi {}
}
@end lilypond
-
+@end ignore
@node Engraving
@unnumberedsubsec Engraving
-The art of music typography is called @emph{(plate) engraving}. The
-term derives from the traditional process of music printing. Just a
-few decades ago, sheet music was made by cutting and stamping the
-music into a zinc or pewter plate in mirror image. The plate would be
-inked, the depressions caused by the cutting and stamping would hold
-ink. An image was formed by pressing paper to the plate. The
-stamping and cutting was completely done by hand. Making a correction
-was cumbersome, if possible at all, so the engraving had to be perfect
-in one go. Engraving was a highly specialized skill; a craftsman had
-to complete around five years of training before earning the title of
-master engraver, and another five years of experience were
-necessary to become truly skilled.
-
-Nowadays, all newly printed music is produced with computers. This
-has obvious advantages; prints are cheaper to make, and editorial work
-can be delivered by email. Unfortunately, the pervasive use of
-computers has also decreased the graphical quality of scores.
-Computer printouts have a bland, mechanical look, which makes them
-unpleasant to play from.
+The art of music typography is called @emph{(plate) engraving}.
+The term derives from the traditional process of music printing.
+Just a few decades ago, sheet music was made by cutting and
+stamping the music into a zinc or pewter plate in mirror image.
+The plate would be inked, the depressions caused by the cutting
+and stamping would hold ink. An image was formed by pressing
+paper to the plate. The stamping and cutting was completely done
+by hand. Making a correction was cumbersome, if possible at all,
+so the engraving had to be perfect in one go. Engraving was a
+highly specialized skill; a craftsman had to complete around five
+years of training before earning the title of master engraver, and
+another five years of experience were necessary to become truly
+skilled.
+
+Nowadays, all newly printed music is produced with computers.
+This has obvious advantages; prints are cheaper to make, and
+editorial work can be delivered by email. Unfortunately, the
+pervasive use of computers has also decreased the graphical
+quality of scores. Computer printouts have a bland, mechanical
+look, which makes them unpleasant to play from.
@c introduce illustrating aspects of engraving, font...
The images below illustrate the difference between traditional
-engraving and typical computer output, and the third picture shows how
-LilyPond mimics the traditional look. The left picture shows a scan
-of a flat symbol from an edition published in 2000. The center
-depicts a symbol from a hand-engraved Bärenreiter edition of the
-same music. The left scan illustrates typical flaws of computer
-print: the staff lines are thin, the weight of the flat symbol matches
-the light lines and it has a straight layout with sharp corners. By
-contrast, the Bärenreiter flat has a bold, almost voluptuous
-rounded look. Our flat symbol is designed after, among others, this
-one. It is rounded, and its weight harmonizes with the thickness of
-our staff lines, which are also much thicker than lines in the
-computer edition.
+engraving and typical computer output, and the third picture shows
+how LilyPond mimics the traditional look. The left picture shows
+a scan of a flat symbol from an edition published in 2000. The
+center depicts a symbol from a hand-engraved Bärenreiter edition
+of the same music. The left scan illustrates typical flaws of
+computer print: the staff lines are thin, the weight of the flat
+symbol matches the light lines and it has a straight layout with
+sharp corners. By contrast, the Bärenreiter flat has a bold,
+almost voluptuous rounded look. Our flat symbol is designed
+after, among others, this one. It is rounded, and its weight
+harmonizes with the thickness of our staff lines, which are also
+much thicker than lines in the computer edition.
@multitable @columnfractions .125 .25 .25 .25 .125
@item @tab
@c introduce illustrating aspects of engraving, spacing...
In spacing, the distribution of space should reflect the durations
-between notes. However, many modern scores adhere to the durations
-with mathematical precision, which leads to poor results. In the next
-example a motive is printed twice: once using exact mathematical
-spacing, and once with corrections. Can you spot which fragment is
-which?
+between notes. However, many modern scores adhere to the
+durations with mathematical precision, which leads to poor
+results. In the next example a motive is printed twice: once
+using exact mathematical spacing, and once with corrections. Can
+you spot which fragment is which?
@cindex optical spacing
@c file spacing-optical.
@cindex regular rhythms
@cindex regular spacing
-Each bar in the fragment only uses notes that are played in a constant
-rhythm. The spacing should reflect that. Unfortunately, the eye
-deceives us a little; not only does it notice the distance between
-note heads, it also takes into account the distance between
-consecutive stems. As a result, the notes of an up-stem/@/down-stem
-combination should be put farther apart, and the notes of a
-down-stem/@/up-stem combination should be put closer together, all
-depending on the combined vertical positions of the notes. The upper
-two measures are printed with this correction, the lower two measures
-without, forming down-stem/@/up-stem clumps of notes.
+Each bar in the fragment only uses notes that are played in a
+constant rhythm. The spacing should reflect that. Unfortunately,
+the eye deceives us a little; not only does it notice the distance
+between note heads, it also takes into account the distance
+between consecutive stems. As a result, the notes of an
+up-stem/@/down-stem combination should be put farther apart, and
+the notes of a down-stem/@/up-stem combination should be put
+closer together, all depending on the combined vertical positions
+of the notes. The upper two measures are printed with this
+correction, the lower two measures without, forming
+down-stem/@/up-stem clumps of notes.
@cindex typography
-Musicians are usually more absorbed with performing than with studying
-the looks of a piece of music, so nitpicking about typographical
-details may seem academical. But it is not. In larger pieces with
-monotonous rhythms, spacing corrections lead to subtle variations in
-the layout of every line, giving each one a distinct visual signature.
-Without this signature all lines would look the same, and they become
-like a labyrinth. If a musician looks away once or has a lapse in
-concentration, the lines might lose their place on the page.
-
-Similarly, the strong visual look of bold symbols on heavy staff lines
-stands out better when the music is far away from the reader, for
-example, if it is on a music stand. A careful distribution of white
-space allows music to be set very tightly without cluttering symbols
-together. The result minimizes the number of page turns, which is a
-great advantage.
+Musicians are usually more absorbed with performing than with
+studying the looks of a piece of music, so nitpicking about
+typographical details may seem academical. But it is not. In
+larger pieces with monotonous rhythms, spacing corrections lead to
+subtle variations in the layout of every line, giving each one a
+distinct visual signature. Without this signature all lines would
+look the same, and they become like a labyrinth. If a musician
+looks away once or has a lapse in concentration, the lines might
+lose their place on the page.
+
+Similarly, the strong visual look of bold symbols on heavy staff
+lines stands out better when the music is far away from the
+reader, for example, if it is on a music stand. A careful
+distribution of white space allows music to be set very tightly
+without cluttering symbols together. The result minimizes the
+number of page turns, which is a great advantage.
This is a common characteristic of typography. Layout should be
-pretty, not only for its own sake, but especially because it helps the
-reader in her task. For performance material like sheet music, this
-is of double importance: musicians have a limited amount of attention.
-The less attention they need for reading, the more they can focus on
-playing the music. In other words, better typography translates to
-better performances.
+pretty, not only for its own sake, but especially because it helps
+the reader in her task. For performance material like sheet
+music, this is of double importance: musicians have a limited
+amount of attention. The less attention they need for reading,
+the more they can focus on playing the music. In other words,
+better typography translates to better performances.
These examples demonstrate that music typography is an art that is
subtle and complex, and that producing it requires considerable
expertise, which musicians usually do not have. LilyPond is our
-effort to bring the graphical excellence of hand-engraved music to the
-computer age, and make it available to normal musicians. We have
-tuned our algorithms, font-designs, and program settings to produce
-prints that match the quality of the old editions we love to see and
-love to play from.
-
-
+effort to bring the graphical excellence of hand-engraved music to
+the computer age, and make it available to normal musicians. We
+have tuned our algorithms, font-designs, and program settings to
+produce prints that match the quality of the old editions we love
+to see and love to play from.
@node Automated engraving
@unnumberedsubsec Automated engraving
-How do we go about implementing typography? If craftsmen need over
-ten years to become true masters, how could we simple hackers ever
-write a program to take over their jobs?
+How do we go about implementing typography? If craftsmen need
+over ten years to become true masters, how could we simple hackers
+ever write a program to take over their jobs?
The answer is: we cannot. Typography relies on human judgment of
-appearance, so people cannot be replaced completely. However, much of
-the dull work can be automated. If LilyPond solves most of the common
-situations correctly, this will be a huge improvement over existing
-software. The remaining cases can be tuned by hand. Over the course
-of years, the software can be refined to do more and more things
-automatically, so manual overrides are less and less necessary.
+appearance, so people cannot be replaced completely. However,
+much of the dull work can be automated. If LilyPond solves most
+of the common situations correctly, this will be a huge
+improvement over existing software. The remaining cases can be
+tuned by hand. Over the course of years, the software can be
+refined to do more and more things automatically, so manual
+overrides are less and less necessary.
When we started, we wrote the LilyPond program entirely in the C++
-programming language; the program's functionality was set in stone by
-the developers. That proved to be unsatisfactory for a number of
-reasons:
+programming language; the program's functionality was set in stone
+by the developers. That proved to be unsatisfactory for a number
+of reasons:
@itemize
-@item When LilyPond makes mistakes,
-users need to override formatting decisions. Therefore, the user must
-have access to the formatting engine. Hence, rules and settings cannot
-be fixed by us at compile-time but must be accessible for users at
-run-time.
-
-@item Engraving is a matter of visual judgment, and therefore a matter of
-taste. As knowledgeable as we are, users can disagree with our
-personal decisions. Therefore, the definitions of typographical style
-must also be accessible to the user.
-
-@item Finally, we continually refine the formatting algorithms, so we
-need a flexible approach to rules. The C++ language forces a certain
-method of grouping rules that do not match well with how music
-notation works.
+
+@item When LilyPond makes mistakes, users need to override
+formatting decisions. Therefore, the user must have access to the
+formatting engine. Hence, rules and settings cannot be fixed by
+us at compile-time but must be accessible for users at run-time.
+
+@item Engraving is a matter of visual judgment, and therefore a
+matter of taste. As knowledgeable as we are, users can disagree
+with our personal decisions. Therefore, the definitions of
+typographical style must also be accessible to the user.
+
+@item Finally, we continually refine the formatting algorithms, so
+we need a flexible approach to rules. The C++ language forces a
+certain method of grouping rules that do not match well with how
+music notation works.
+
@end itemize
-These problems have been addressed by integrating an interpreter for
-the Scheme programming language and rewriting parts of LilyPond in
-Scheme. The current formatting architecture is built around the
-notion of graphical objects, described by Scheme variables and
-functions. This architecture encompasses formatting rules,
-typographical style and individual formatting decisions. The user has
-direct access to most of these controls.
+These problems have been addressed by integrating an interpreter
+for the Scheme programming language and rewriting parts of
+LilyPond in Scheme. The current formatting architecture is built
+around the notion of graphical objects, described by Scheme
+variables and functions. This architecture encompasses formatting
+rules, typographical style and individual formatting decisions.
+The user has direct access to most of these controls.
Scheme variables control layout decisions. For example, many
-graphical objects have a direction variable that encodes the choice
-between up and down (or left and right). Here you see two chords,
-with accents and arpeggios. In the first chord, the graphical objects
-have all directions down (or left). The second chord has all
-directions up (right).
+graphical objects have a direction variable that encodes the
+choice between up and down (or left and right). Here you see two
+chords, with accents and arpeggios. In the first chord, the
+graphical objects have all directions down (or left). The second
+chord has all directions up (right).
@lilypond[quote,ragged-right]
\new Score \with {
\override SpacingSpanner #'spacing-increment = #3
\override TimeSignature #'transparent = ##t
-} \relative {
+} \relative c' {
\stemDown <e g b>4_>-\arpeggio
\override Arpeggio #'direction = #RIGHT
\stemUp <e g b>4^>-\arpeggio
@end lilypond
@noindent
-The process of formatting a score consists of reading and writing the
-variables of graphical objects. Some variables have a preset value. For
-example, the thickness of many lines -- a characteristic of typographical
-style -- is a variable with a preset value. You are free to alter this
-value, giving your score a different typographical impression.
+The process of formatting a score consists of reading and writing
+the variables of graphical objects. Some variables have a preset
+value. For example, the thickness of many lines -- a
+characteristic of typographical style -- is a variable with a
+preset value. You are free to alter this value, giving your score
+a different typographical impression.
@lilypond[quote,ragged-right]
fragment = {
>>
@end lilypond
-Formatting rules are also preset variables: each object has variables
-containing procedures. These procedures perform the actual
-formatting, and by substituting different ones, we can change the
-appearance of objects. In the following example, the rule which note
-head objects are used to produce their symbol is changed during the
-music fragment.
+Formatting rules are also preset variables: each object has
+variables containing procedures. These procedures perform the
+actual formatting, and by substituting different ones, we can
+change the appearance of objects. In the following example, the
+rule which note head objects are used to produce their symbol is
+changed during the music fragment.
@lilypond[quote,ragged-right]
#(set-global-staff-size 30)
@end lilypond
-
@node What symbols to engrave?
@unnumberedsubsec What symbols to engrave?
@cindex engraving
@cindex typography
-The formatting process decides where to place symbols. However, this
-can only be done once it is decided @emph{what} symbols should be
-printed, in other words what notation to use.
-
-Common music notation is a system of recording music that has evolved
-over the past 1000 years. The form that is now in common use dates
-from the early renaissance. Although the basic form (i.e., note heads
-on a 5-line staff) has not changed, the details still evolve to
-express the innovations of contemporary notation. Hence, it
-encompasses some 500 years of music. Its applications range from
-monophonic melodies to monstrous counterpoints for large orchestras.
-
-How can we get a grip on such a many-headed beast, and force it into
-the confines of a computer program? Our solution is to break up the
-problem of notation (as opposed to engraving, i.e., typography) into
-digestible and programmable chunks: every type of symbol is handled by
-a separate module, a so-called plug-in. Each plug-in is completely
-modular and independent, so each can be developed and improved
-separately. Such plug-ins are called @code{engraver}s, by analogy
-with craftsmen who translate musical ideas to graphic symbols.
-
-In the following example, we see how we start out with a plug-in for
-note heads, the @code{Note_heads_engraver}.
+The formatting process decides where to place symbols. However,
+this can only be done once it is decided @emph{what} symbols
+should be printed, in other words what notation to use.
+
+Common music notation is a system of recording music that has
+evolved over the past 1000 years. The form that is now in common
+use dates from the early renaissance. Although the basic form
+(i.e., note heads on a 5-line staff) has not changed, the details
+still evolve to express the innovations of contemporary notation.
+Hence, it encompasses some 500 years of music. Its applications
+range from monophonic melodies to monstrous counterpoints for
+large orchestras.
+
+How can we get a grip on such a many-headed beast, and force it
+into the confines of a computer program? Our solution is to break
+up the problem of notation (as opposed to engraving, i.e.,
+typography) into digestible and programmable chunks: every type of
+symbol is handled by a separate module, a so-called plug-in. Each
+plug-in is completely modular and independent, so each can be
+developed and improved separately. Such plug-ins are called
+@code{engraver}s, by analogy with craftsmen who translate musical
+ideas to graphic symbols.
+
+In the following example, we see how we start out with a plug-in
+for note heads, the @code{Note_heads_engraver}.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
- \topVoice
- \layout {
- \context {
+ \topVoice
+ \layout {
+ \context {
\Voice
\remove "Stem_engraver"
\remove "Phrasing_slur_engraver"
\remove "Script_engraver"
\remove "Beam_engraver"
\remove "Auto_beam_engraver"
- }
- \context {
+ }
+ \context {
\Staff
\remove "Accidental_engraver"
\remove "Key_engraver"
\remove "Time_signature_engraver"
\remove "Staff_symbol_engraver"
\consists "Pitch_squash_engraver"
- }
-}
+ }
+ }
}
@end lilypond
@end lilypond
@noindent
-The @code{Stem_engraver} is notified of any note head coming along.
-Every time one (or more, for a chord) note head is seen, a stem
-object is created and connected to the note head. By adding
-engravers for beams, slurs, accents, accidentals, bar lines,
-time signature, and key signature, we get a complete piece of
-notation.
+The @code{Stem_engraver} is notified of any note head coming
+along. Every time one (or more, for a chord) note head is seen, a
+stem object is created and connected to the note head. By adding
+engravers for beams, slurs, accents, accidentals, bar lines, time
+signature, and key signature, we get a complete piece of notation.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\new Staff << \topVoice \\ \botVoice >>
@end lilypond
-In this situation, the accidentals and staff are shared, but the stems,
-slurs, beams, etc., are private to each voice. Hence, engravers should
-be grouped. The engravers for note heads, stems, slurs, etc., go into a
-group called @q{Voice context,} while the engravers for key, accidental,
-bar, etc., go into a group called @q{Staff context.} In the case of
-polyphony, a single Staff 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.
+In this situation, the accidentals and staff are shared, but the
+stems, slurs, beams, etc., are private to each voice. Hence,
+engravers should be grouped. The engravers for note heads, stems,
+slurs, etc., go into a group called @q{Voice context,} while the
+engravers for key, accidental, bar, etc., go into a group called
+@q{Staff context.} In the case of polyphony, a single Staff
+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
}
@end lilypond
+
@node Music representation
@unnumberedsubsec Music representation
-Ideally, the input format for any high-level formatting system is an
-abstract description of the content. In this case, that would be the
-music itself. This poses a formidable problem: how can we define what
-music really is? Instead of trying to find an answer, we have reversed
-the question. We write a program capable of producing sheet music,
-and adjust the format to be as lean as possible. When the format can
-no longer be trimmed down, by definition we are left with content
-itself. Our program serves as a formal definition of a music
-document.
+Ideally, the input format for any high-level formatting system is
+an abstract description of the content. In this case, that would
+be the music itself. This poses a formidable problem: how can we
+define what music really is? Instead of trying to find an answer,
+we have reversed the question. We write a program capable of
+producing sheet music, and adjust the format to be as lean as
+possible. When the format can no longer be trimmed down, by
+definition we are left with content itself. Our program serves as
+a formal definition of a music document.
-The syntax is also the user-interface for LilyPond, hence it is easy
-to type
+The syntax is also the user-interface for LilyPond, hence it is
+easy to type:
@example
@{
@end example
@noindent
-a quarter note C1 (middle C) and an eighth note D1 (D above middle C)
+to create a quarter note C1 (middle C) and an eighth note D1 (D
+above middle C).
@lilypond[quote]
{
@end lilypond
On a microscopic scale, such syntax is easy to use. On a larger
-scale, syntax also needs structure. How else can you enter complex
-pieces like symphonies and operas? The structure is formed by the
-concept of music expressions: by combining small fragments of music
-into larger ones, more complex music can be expressed. For example
+scale, syntax also needs structure. How else can you enter
+complex pieces like symphonies and operas? The structure is
+formed by the concept of music expressions: by combining small
+fragments of music into larger ones, more complex music can be
+expressed. For example
@lilypond[quote,verbatim,fragment,relative=1]
-c4
+f4
@end lilypond
@noindent
-Chords can be constructed with @code{<<} and @code{>>} enclosing the notes
+Simultaneous notes can be constructed by enclosing them with
+@code{<<} and @code{>>}:
-@c < > is not a music expression,
-@c so we use <<>> iso. <> to drive home the point of
-@c expressions. Don't change this back --hwn.
-
-@c FIXME: change this. I can explain it better. -gp
@example
<<c4 d4 e4>>
@end example
@noindent
This expression is put in sequence by enclosing it in curly braces
-@code{@{@tie{}@dots{}@tie{}@}}
+@code{@{@tie{}@dots{}@tie{}@}}:
@example
@{ f4 <<c4 d4 e4>> @}
@end lilypond
@noindent
-The above is also an expression, and so it may be combined
-again with another simultaneous expression (a half note) using <<,
-@code{\\}, and >>
+The above is also an expression, and so it may be combined again
+with another simultaneous expression (a half note) using
+@code{<<}, @code{\\}, and @code{>>}:
@example
<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
\new Voice { << g2 \\ { f4 <<c d e>> } >> }
@end lilypond
-Such recursive structures can be specified neatly and formally in a
-context-free grammar. The parsing code is also generated from this
-grammar. In other words, the syntax of LilyPond is clearly and
-unambiguously defined.
+Such recursive structures can be specified neatly and formally in
+a context-free grammar. The parsing code is also generated from
+this grammar. In other words, the syntax of LilyPond is clearly
+and unambiguously defined.
-User-interfaces and syntax are what people see and deal with
-most. They are partly a matter of taste, and also subject of much
-discussion. Although discussions on taste do have their merit, they
-are not very productive. In the larger picture of LilyPond, the
-importance of input syntax is small: inventing neat syntax is easy, while
-writing decent formatting code is much harder. This is also
-illustrated by the line-counts for the respective components: parsing
-and representation take up less than 10% of the source code.
+User-interfaces and syntax are what people see and deal with most.
+They are partly a matter of taste, and also subject of much
+discussion. Although discussions on taste do have their merit,
+they are not very productive. In the larger picture of LilyPond,
+the importance of input syntax is small: inventing neat syntax is
+easy, while writing decent formatting code is much harder. This
+is also illustrated by the line-counts for the respective
+components: parsing and representation take up less than 10% of
+the source code.
@node Example applications
@unnumberedsubsec Example applications
-We have written LilyPond as an experiment of how to condense the art
-of music engraving into a computer program. Thanks to all that hard
-work, the program can now be used to perform useful tasks. The
-simplest application is printing notes.
+We have written LilyPond as an experiment of how to condense the
+art of music engraving into a computer program. Thanks to all
+that hard work, the program can now be used to perform useful
+tasks. The simplest application is printing notes.
@lilypond[quote,relative=1]
{
>>
@end lilypond
-Polyphonic notation and piano music can also be printed. The following
-example combines some more exotic constructs.
+Polyphonic notation and piano music can also be printed. The
+following example combines some more exotic constructs.
-@lilypondfile[quote,ragged-right]{screech-boink.ly}
+@lilypond[quote]
+\header {
+ title = "Screech and boink"
+ subtitle = "Random complex notation"
+ composer = "Han-Wen Nienhuys"
+}
-The fragments shown above have all been written by hand, but that is
-not a requirement. Since the formatting engine is mostly automatic, it
-can serve as an output means for other programs that manipulate
-music. For example, it can also be used to convert databases of
-musical fragments to images for use on websites and multimedia
-presentations.
+\score {
+ \context PianoStaff <<
+ \new Staff = "up" {
+ \time 4/8
+ \key c \minor
+ << {
+ \revert Stem #'direction
+ \change Staff = down
+ \set subdivideBeams = ##t
+ g16.[
+ \change Staff = up
+ c'''32
+ \change Staff = down
+ g32
+ \change Staff = up
+ c'''32
+ \change Staff = down
+ g16]
+ \change Staff = up
+ \stemUp
+ \set followVoice = ##t
+ c'''32([ b''16 a''16 gis''16 g''32)]
+ } \\ {
+ s4 \times 2/3 { d'16[ f' g'] } as'32[ b''32 e'' d'']
+ } \\ {
+ s4 \autoBeamOff d''8.. f''32
+ } \\ {
+ s4 es''4
+ } >>
+ }
-This manual also shows an application: the input format is text, and
-can therefore be easily embedded in other text-based formats such as
-@LaTeX{}, HTML, or in the case of this manual, Texinfo. By means of a
-special program, the input fragments can be replaced by music images
-in the resulting PDF or HTML output files. This makes it easy
-to mix music and text in documents.
+ \new Staff = "down" {
+ \clef bass
+ \key c \minor
+ \set subdivideBeams = ##f
+ \override Stem #'french-beaming = ##t
+ \override Beam #'thickness = #0.3
+ \override Stem #'thickness = #4.0
+ g'16[ b16 fis16 g16]
+ << \makeClusters {
+ as16 <as b>
+ <g b>
+ <g cis>
+ } \\ {
+ \override Staff.Arpeggio #'arpeggio-direction =#down
+ <cis, e, gis, b, cis>4\arpeggio
+ }
+ >> }
+ >>
+ \midi {
+ \context {
+ \Score
+ tempoWholesPerMinute = #(ly:make-moment 60 8)
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ \consists Horizontal_bracket_engraver
+ }
+ }
+}
+@end lilypond
+
+The fragments shown above have all been written by hand, but that
+is not a requirement. Since the formatting engine is mostly
+automatic, it can serve as an output means for other programs that
+manipulate music. For example, it can also be used to convert
+databases of musical fragments to images for use on websites and
+multimedia presentations.
+
+This manual also shows an application: the input format is text,
+and can therefore be easily embedded in other text-based formats
+such as @LaTeX{}, HTML, or in the case of this manual, Texinfo.
+By means of a special program, the input fragments can be replaced
+by music images in the resulting PDF or HTML output files. This
+makes it easy to mix music and text in documents.
@node About the documentation
* About the Snippet List (SL):: this is a collection of short LilyPond examples.
-* About the Internals Reference (IR):: this document gives information about LilyPond internal programming information, which is required for constructing tweaks.
+* About the Internals Reference (IR):: this document gives reference information about LilyPond's internal structures, which is required for constructing tweaks.
* Other documentation:: there are a few other portions of the documentation, such as News items and the mailist archives.
@cindex snippets
@cindex LSR
-@c FIXME: check on kainhofer.
-@ref{Top,LilyPond Snippet List,,lilypond-snippets}:
-this shows a selected set of LilyPond snippets from the
+@ref{Top,LilyPond Snippet List,,lilypond-snippets}: this shows a
+selected set of LilyPond snippets from the
@uref{http://lsr@/.dsi@/.unimi@/.it,LilyPond Snippet Repository}
-(LSR). It is in the public domain.
+(LSR). All the snippets are in the public domain.
Please note that this document is not an exact subset of LSR. LSR
is running a stable LilyPond version, so any snippet which
@node About the Internals Reference (IR)
@unnumberedsubsec About the Internals Reference (IR)
-@c zzz
-
-@itemize
-@item
-The
-@iftex
-Internals Reference
-@end iftex
-@ifnottex
-@ref{Top,Internals Reference,,lilypond-internals}
-@end ifnottex
-is a set of heavily cross linked HTML pages, which document the
-nitty-gritty details of each and every LilyPond class, object, and
-function. It is produced directly from the formatting definitions used.
-
-Almost all formatting functionality that is used internally, is
-available directly to the user. For example, all variables that control
-thickness values, distances, etc., can be changed in input files. There
-are a huge number of formatting options, and all of them are described
-in this document. Each section of the notation manual has a @b{See
-also} subsection, which refers to the generated documentation. In the
-HTML document, these subsections have clickable links.
+@ref{Top,Internals Reference,,lilypond-internals}: this is a set
+of heavily cross linked HTML pages which document the nitty-gritty
+details of each and every LilyPond class, object, and function.
+It is produced directly from the formatting definitions in the
+source code.
-@end itemize
+Almost all formatting functionality that is used internally is
+available directly to the user. For example, most variables that
+control thickness values, distances, etc., can be changed in input
+files. There are a huge number of formatting options, and all of
+them are described in this document. Each section of the Notation
+Reference has a @b{See also} subsection, which refers to the
+generated documentation. In the HTML document, these subsections
+have clickable links.
@node Other documentation
@unnumberedsubsec Other documentation
-FIXME: most of this should go higher up. Discuss News, mailist
-archives, ...?
+There are a number of other sources of information which may be
+very valuable.
-There are a number of other places which may be very valuable.
+@itemize
-Once you are an experienced user, you can use the manual as reference:
-there is an extensive index@footnote{If you are looking for something,
-and you cannot find it in the manual, that is considered a bug. In
-that case, please file a bug report.}, but the document is also
-available in
-@iftex
-a big HTML page,
-@end iftex
-@ifhtml
-@uref{source/Documentation/user/lilypond-big-page.html, one big page},
-@end ifhtml
-which can be searched easily using the search facility of a web
-browser.
-
-
-In all HTML documents that have music fragments embedded, the LilyPond
-input that was used to produce that image can be viewed by clicking
-the image.
-
-The location of the documentation files that are mentioned here can vary
-from system to system. On occasion, this manual refers to
-initialization and example files. Throughout this manual, we refer to
-input files relative to the top-directory of the source archive. For
-example, @file{input/@/lsr/@/dirname/@/bla@/.ly} may refer to the file
-@file{lilypond@/2.x.y/@/input/@/lsr/@/dirname/@/bla@/.ly}. On binary
-packages for the UNIX platform, the documentation and examples can
-typically be found somewhere below
+@item News: This is a summary of important changes
+and new features in LilyPond since the previous version.
+
+@item @uref{http://lists.gnu.org/archive/html/lilypond-user/, The
+lilypond-user mailist archives}: this is a collection of previous
+emails sent to the user list. Many questions have been asked
+multiple times; there is a very good chance that if you have a
+question, the answer might be found in these archives.
+
+@item @uref{http://lists.gnu.org/archive/html/lilypond-devel/, The
+lilypond-devel mailist archives}: this is a collection of previous
+emails sent to the developer's list. The discussion here is more
+technical; if you have an advanced question about lilypond
+internals, the answer might be in these archives.
+
+@item Embedded music fragments: in all HTML documents that have
+music fragments embedded, the exact LilyPond input that was used
+to produce that image can be viewed by clicking the image.
+
+@item Init files: The location of the documentation files that are
+mentioned here can vary from system to system. On occasion, this
+manual refers to initialization and example files. Throughout
+this manual, we refer to input files relative to the top-directory
+of the source archive. For example,
+@file{input/@/lsr/@/dirname/@/bla@/.ly} may refer to the file
+@file{lilypond@/2.x.y/@/input/@/lsr/@/dirname/@/bla@/.ly}. On
+binary packages for the UNIX platform, the documentation and
+examples can typically be found somewhere below
@file{/usr/@/share/@/doc/@/lilypond/}. Initialization files, for
-example @file{scm/@/lily@/.scm}, or @file{ly/@/engraver@/-init@/.ly},
-are usually found in the directory @file{/usr/@/share/@/lilypond/}.
-
-@cindex adjusting output
-@cindex variables
-@cindex properties
-@cindex lilypond-internals
-@cindex internal documentation
-@cindex Scheme
-@cindex extending LilyPond
-@cindex index
-
-Finally, this and all other manuals, are available online both as PDF
-files and HTML from the web site, which can be found at
-@uref{http://@/www@/.lilypond@/.org/}.
-
+example @file{scm/@/lily@/.scm}, or
+@file{ly/@/engraver@/-init@/.ly}, are usually found in the
+directory @file{/usr/@/share/@/lilypond/}.
+@end itemize
@code{#f}
@item Vector
@tab A list of three items enclosed in brackets and preceded
-by a hash sign, @code{#}.
- @tab @code{#(#t #t #f)}
+by apostrophe-hash, @code{'#}.
+ @tab @code{'#(#t #t #f)}
@end multitable
@node Appearance of objects
These control respectively whether bar lines are printed at
the end of a line, in the middle of lines, and at the beginning
of lines. For our example we want all bar lines to be suppressed,
-so the value we need is @code{#(#f #f #f)}.
+so the value we need is @code{'#(#f #f #f)}.
Let's try that, remembering
to include the @code{Staff} context. Note also that in writing
-this value we have two hash signs before the opening bracket.
-One is required as part of the value to introduce a vector,
-and one is required, as always, to precede the value itself in
-the @code{\override} command.
+this value we have @code{#'#} before the opening bracket.
+The @code{'#} is required as part of the value to introduce a
+vector, and the first @code{#} is required, as always, to precede
+the value itself in the @code{\override} command.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
c4 \glissando d e \glissando f \glissando \break
%% consecutive
c \glissando d, \glissando e'
- << { \stemUp e8 \glissando g8 }
- \context Voice = VB {\stemDown \repeat unfold 4 d16 } >>
+ << { e8 \glissando g8 } \\
+ { \repeat unfold 4 d16 } >>
\override Glissando #'style = #'zigzag
c4 \glissando c,, \glissando c' \glissando d
}
--- /dev/null
+\header {
+ texidoc = "Staves with percent repeats are not killed."
+}
+
+\version "2.11.53"
+
+<<
+ \new Staff { c''1 c'' \break c'' c'' }
+ \new Staff \repeat percent 4 { c'1 }
+>>
+
+\layout {
+ \context {
+ \RemoveEmptyStaffContext
+ }
+}
\header {
- texidoc = "A slur avoids collisions with scripts. Articulations
- go inside the slur, dynamic markings go outside the slur.
- Fingerings and texts are placed either inside or outside.
-
- For different configurations, the defaults can be changed, and
- scripts can be moved manually."
+ texidoc = "A slur avoids collisions with scripts, which are placed
+ either inside or outside the slur, depending on the script. The
+ slur responds appropriately if a script is moved."
}
\version "2.11.51"
}
\relative
{
- b4-.( b-. b-.)
- b(-. d-.)
-
- b_1( f'_1_2_3 c_3_4_5 a)
-
- \override DynamicLineSpanner #'avoid-slur = #'outside
- b(^"dyn outside" b f'\p b,)
-
- %% Do not force dynamics outside slur, only avoid collisions.
- \override DynamicLineSpanner #'avoid-slur = #'around
- b(^"dyn around" e\p e\f b)
-
- %% Do not avoid collisions.
- \override DynamicLineSpanner #'avoid-slur = #'()
- b(^"no avoid" d\p d\f b)
-
- c_\markup { \italic {"cresc."}}( c c)
- \once \override Script #'padding = #1.2
- b-.( b-.
- \once \override Script #'padding = #1.2
- b-.)
- e='16[-.( f-.)]
+ b4-.( b-.)
+ \once \override Script #'padding = #1.5
+ b-.( b-.)
+ b_\downbow( b_\downbow)
+ \once \override Script #'padding = #1.5
+ b_\downbow( b_\downbow)
}
\relative {
\override Score.SpacingSpanner #'packed-spacing = ##t
- c2 d4 f8[ g]
+ c2 d4 f8[ g] a
}
{
LY_ASSERT_TYPE (scm_is_string, name, 1);
- Font_metric *fm = all_fonts_global->find_font (ly_scm2string (name));
+ string name_str = ly_scm2string (name);
+ Font_metric *fm = all_fonts_global->find_font (name_str);
return fm->self_scm ();
}
All_font_metrics::find_otf (string name)
{
SCM sname = ly_symbol2scm (name.c_str ());
- SCM name_string = ly_string2scm (name);
SCM val;
if (!otf_dict_->try_retrieve (sname, &val))
{
progress_indication ("]");
unsmob_metrics (val)->file_name_ = file_name;
+ SCM name_string = ly_string2scm (name);
unsmob_metrics (val)->description_ = scm_cons (name_string,
scm_from_double (1.0));
otf_dict_->set (sname, val);
/* properties */
"break-visibility "
+ "extra-spacing-height "
"extra-spacing-width "
- "infinite-spacing-height "
"non-musical "
);
(SCM layout_smob, SCM name),
"Return the layout variable @var{name}.")
{
-
LY_ASSERT_SMOB (Output_def, layout_smob, 1);
Output_def *layout = unsmob_output_def (layout_smob);
return scm_from_double (layout->get_dimension (name));
Interval y (il->pure_height (ycommon, 0, very_large));
Interval x (il->extent (pc, X_AXIS));
- Interval extra = robust_scm2interval (elts[i]->get_property ("extra-spacing-width"),
- Interval (-0.1, 0.1));
- x[LEFT] += extra[LEFT];
- x[RIGHT] += extra[RIGHT];
- if (to_boolean (elts[i]->get_property ("infinite-spacing-height")))
- y = Interval (-infinity_f, infinity_f);
+ Interval extra_width = robust_scm2interval (elts[i]->get_property ("extra-spacing-width"),
+ Interval (-0.1, 0.1));
+ Interval extra_height = robust_scm2interval (elts[i]->get_property ("extra-spacing-height"),
+ Interval (-0.1, 0.1));
+
+ x[LEFT] += extra_width[LEFT];
+ x[RIGHT] += extra_width[RIGHT];
+ y[DOWN] += extra_height[DOWN];
+ y[UP] += extra_height[UP];
if (!x.is_empty () && !y.is_empty ())
out.push_back (Box (x, y));
}
}
- int max_idx = -1;
+ vsize max_idx = VPOS;
int max_count = 0;
for (vsize i = durations.size (); i--;)
{
if (Moment *m = unsmob_moment (bsd))
d = m->main_part_;
- if (max_idx >= 0)
+ if (max_idx != VPOS)
d = min (d, durations[max_idx]);
return Moment (d).smobbed_copy ();
else
{
/*
- Fixed should be 0.0. If there are no spacing wishes, we're
- likely dealing with polyphonic spacing of hemiolas.
-
- We used to have min_distance_ = options->increment_
-
- but this can lead to numeric instability problems when we
- do
-
- inverse_strength = (distance_ - min_distance_)
-
+ Min distance should be 0.0. If there are no spacing
+ wishes, we're probably dealing with polyphonic spacing
+ of hemiolas.
*/
spring = Spring (base_note_space, 0.0);
}
{
/*
In packed mode, pack notes as tight as possible. This makes
- sense mostly in combination with raggedright mode: the notes
+ sense mostly in combination with ragged-right mode: the notes
are then printed at minimum distance. This is mostly useful
for ancient notation, but may also be useful for some flavours
- of contemporary music. If not in raggedright mode, lily will
- pack as much bars of music as possible into a line, but the
+ of contemporary music. If not in ragged-right mode, lily will
+ pack as many bars of music as possible into a line, but the
line will then be stretched to fill the whole linewidth.
+
+ Note that we don't actually pack things as tightly as possible:
+ we don't allow the next column to begin before this one ends.
*/
- spring.set_distance (spring.min_distance ());
+ spring.set_distance (max (left_col->extent (left_col, X_AXIS)[RIGHT],
+ spring.min_distance ()));
spring.set_inverse_stretch_strength (1.0);
}
bool
-Tie::less (Grob *const &s1,
- Grob *const &s2)
+Tie::less (Grob *const &s1, Grob *const &s2)
{
return Tie::get_position (s1) < Tie::get_position (s2);
}
return controls;
}
-
MAKE_SCHEME_CALLBACK (Tie, calc_control_points, 1);
SCM
Tie::calc_control_points (SCM smob)
Grob *yparent = me->get_parent (Y_AXIS);
if ((Tie_column::has_interface (yparent)
|| Semi_tie_column::has_interface (yparent))
- && unsmob_grob_array (yparent->get_object ("ties"))
- // && unsmob_grob_array (yparent->get_object ("ties"))->size () > 1
- )
+ && unsmob_grob_array (yparent->get_object ("ties")))
{
extract_grob_set (yparent, "ties", ties);
- if (ties.size() == 1
+ if (me->original() && ties.size() == 1
&& !to_dir (me->get_property_data ("direction")))
{
assert (ties[0] == me);
set_grob_direction (me, Tie::get_default_dir (me));
- }
-
+
+ }
/* trigger positioning. */
(void) yparent->get_property ("positioning-done");
}
keepAliveInterfaces = #'(
rhythmic-grob-interface
lyric-interface
+ percent-repeat-item-interface
+ percent-repeat-interface
;; need this, as stanza numbers are items, and appear only once.
stanza-number-interface
- percent-repeat-interface)
+ )
quotedEventTypes = #'(
note-event
rest-event
% property-init.ly
-\version "2.11.52"
+\version "2.11.53"
stemUp = \override Stem #'direction = #UP
stemDown = \override Stem #'direction = #DOWN
textLengthOn = {
\override TextScript #'extra-spacing-width = #'(0 . 0)
- \override TextScript #'infinite-spacing-height = ##t
+ \override TextScript #'extra-spacing-height = #'(-inf.0 . +inf.0)
}
textLengthOff = {
\override TextScript #'extra-spacing-width = #'(+inf.0 . -inf.0)
- \override TextScript #'infinite-spacing-height = ##f
+ \override TextScript #'extra-spacing-height = #'(0 . 0)
}
balloonLengthOn = {
\override BalloonTextItem #'extra-spacing-width = #'(0 . 0)
- \override BalloonTextItem #'infinite-spacing-height = ##t
+ \override BalloonTextItem #'extra-spacing-height = #'(-inf.0 . +inf.0)
}
balloonLengthOff = {
\override BalloonTextItem #'extra-spacing-width = #'(+inf.0 . -inf.0)
- \override BalloonTextItem #'infinite-spacing-height = ##f
+ \override BalloonTextItem #'extra-spacing-height = #'(0 . 0)
}
str = str.replace ("setHairpinDim", "dimHairpin")
return str
+@rule ((2, 11, 53), "infinite-spacing-height -> extra-spacing-height")
+def conv (str):
+ str = re.sub (r"infinite-spacing-height\s+=\s+##t", r"extra-spacing-height = #'(-inf.0 . +inf.0)", str)
+ str = re.sub (r"infinite-spacing-height\s+=\s+##f", r"extra-spacing-height = #'(0 . 0)", str)
+ return str
+
# Guidelines to write rules (please keep this at the end of this file)
#
# - keep at most one rule per version; if several conversions should be done,
"Parentheses for other objects."
'(padding stencils))
+(ly:add-interface
+ 'percent-repeat-interface
+ "Beat, Double and single measure repeats."
+ '())
+
(ly:add-interface
'piano-pedal-interface
"A piano pedal sign."
offset is added just before outputting the symbol, so the typesetting
engine is completely oblivious to it. The values are measured in
@code{staff-space} units of the staff's @code{StaffSymbol}.")
+ (extra-spacing-height ,number-pair? "In the horizontal spacing
+problem, we increase the height of each item by this amount (by adding
+the @q{car} to the bottom of the item and adding the @q{cdr} to the top
+of the item. In order to make a grob infinitely high (to prevent the
+horizontal spacing problem from placing any other grobs above or below
+this grob), set this to @code{(-inf.0 . +inf.0)}.")
(extra-spacing-width ,number-pair? "In the horizontal spacing
problem, we pad each item by this amount (by adding the @q{car} on the
left side of the item and adding the @q{cdr} on the right side of the
(ignore-collision ,boolean? "If set, don't do note collision
resolution on this @code{NoteColumn}.")
(implicit ,boolean? "Is this an implicit bass figure?")
- (infinite-spacing-height ,boolean? "If true, then for the
-purposes of horizontal spacing, treat this item as though it were
-infinitely tall. That is, no object from another column is allowed to
-stick above or below this item.")
(inspect-index ,integer? "If debugging is set, set beam and slur
configuration to this index, and print the respective scores.")
(inspect-quants ,number-pair? "If debugging is set,
(meta . ((class . Item)
(interfaces . (font-interface
break-aligned-interface
+ percent-repeat-interface
percent-repeat-item-interface))))))
(DoublePercentRepeatCounter
(interfaces . (side-position-interface
self-alignment-interface
percent-repeat-item-interface
+ percent-repeat-interface
font-interface
text-interface))))))
(meta . ((class . Spanner)
(interfaces . (multi-measure-rest-interface
font-interface
- percent-repeat-item-interface))))))
+ percent-repeat-interface
+ ))))))
(PercentRepeatCounter
. (
(meta . ((class . Spanner)
(interfaces . (side-position-interface
self-alignment-interface
- percent-repeat-item-interface
+ percent-repeat-interface
font-interface
text-interface))))))
(slope . 1.7)
(meta . ((class . Item)
(interfaces . (rhythmic-grob-interface
+ percent-repeat-interface
percent-repeat-item-interface))))))
(RepeatTie
. ,ly:break-aligned-interface::calc-extent-aligned-anchor)
(break-visibility . ,all-visible)
(avoid-slur . inside)
+ (extra-spacing-height . (-1.0 . 1.0))
(space-alist . (
(first-note . (fixed-space . 2.0))
(right-edge . (extra-space . 0.5))
projects / lilypond.git / commitdiff