diff options
| author | David Kastrup <dak@gnu.org> | 2014-02-02 13:23:27 +0100 |
|---|---|---|
| committer | David Kastrup <dak@gnu.org> | 2014-02-02 13:23:27 +0100 |
| commit | 74843362972efd8b7a76419da499c0f5a920663d (patch) | |
| tree | 00a48c8893546337055e6b54f0fdbae8e8898e8c | |
| parent | 0e1b637466fae5473b781b10756805d9f27b247e (diff) | |
Rerun scripts/auxiliar/update-with-convert-ly.sh
136 files changed, 792 insertions, 792 deletions
diff --git a/Documentation/cs/learning/common-notation.itely b/Documentation/cs/learning/common-notation.itely index 258e2ce108..49e1325d2c 100644 --- a/Documentation/cs/learning/common-notation.itely +++ b/Documentation/cs/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: @@ -243,7 +243,7 @@ SlovnÃÄek: @rglos{tie}. spojit, pÅ™ipojà vlnovka @code{~}. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 +g4~ 4 c2~ | 4~ 8 a~ 2 @end lilypond @@ -288,7 +288,7 @@ zapsány pro vÄ›tÅ¡Ã skupiny not. Ligatury a legatové oblouÄky mohou být naskládány do sebe. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1205,7 +1205,7 @@ ve FigarovÄ› árii @notation{Largo al factotum}. \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1236,7 +1236,7 @@ Händelova dÃla @notation{Judas Maccabeus}: \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/cs/learning/fundamental.itely b/Documentation/cs/learning/fundamental.itely index 2f8cc035d2..ea58f708d4 100644 --- a/Documentation/cs/learning/fundamental.itely +++ b/Documentation/cs/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @c Translators: Pavel Fric @node Základnà pojmy @@ -767,7 +767,7 @@ ligatur, znaÄek pro dynamiku atd. tak, jak se patÅ™Ã. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -805,7 +805,7 @@ do dvou staveb, jak je to ukázáno zde na modrém trojúhelnÃkovém hlase. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1088,25 +1088,25 @@ majà pÅ™Ãkazy @code{\oneVoice}, @code{\voiceOne} a @code{voiceTwo} @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1134,7 +1134,7 @@ jednotlivého hlasu. TÃm se může frázovacà oblouÄek malovat nad nÄ›. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1167,7 +1167,7 @@ sázenà not: \voiceTwo r8 e4 d c8~ << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b4 c2 | @@ -1199,7 +1199,7 @@ jako je tomu zde: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1335,7 +1335,7 @@ ne jako noty. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -3137,15 +3137,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c2 | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d e8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d e8~ 8es16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/cs/learning/tweaks.itely b/Documentation/cs/learning/tweaks.itely index de1f0e9aa7..0338933cfa 100644 --- a/Documentation/cs/learning/tweaks.itely +++ b/Documentation/cs/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node LadÄ›nà výstupu @chapter LadÄ›nà výstupu @@ -3322,7 +3322,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3383,7 +3383,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3459,7 +3459,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3545,7 +3545,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3777,7 +3777,7 @@ man zwei Stimmen benutzt, wobei die überbundenen Noten sich in der selben befinden, @lilypond[quote,fragment,relative=2] -<< { b8~ b8\noBeam } \\ { b[ g8] } >> +<< { b8~ 8\noBeam } \\ { b[ g8] } >> @end lilypond @noindent @@ -3793,7 +3793,7 @@ den Stimmen stattfindet: << { \once \override Stem.transparent = ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3810,7 +3810,7 @@ gesetzt wird: { \once \override Stem.transparent = ##t \once \override Stem.length = #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b[ g8] } diff --git a/Documentation/de/essay/engraving.itely b/Documentation/de/essay/engraving.itely index b750abd188..fbc27ef8fe 100644 --- a/Documentation/de/essay/engraving.itely +++ b/Documentation/de/essay/engraving.itely @@ -1756,9 +1756,9 @@ partI = \relative c' { fis8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d - ees4 ~ ees16 d c bes a4 r8 ees'16 d + ees4 ~ 16 d c bes a4 r8 ees'16 d c8 d16 ees d8 e16 fis g8 fis16 g a4 ~ - a8 d, g f ees d c bes + 8 d, g f ees d c bes a2 g\fermata \bar "|." } @@ -1767,7 +1767,7 @@ partII = \relative c' { d4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ - g2 r8 d' ees g, + 2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 @@ -1775,7 +1775,7 @@ partII = \relative c' { partIII = \relative c' { \voiceOne r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a - bes2 ~ bes8 b16 a g8 a16 b + bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g @@ -1786,7 +1786,7 @@ partIV = \relative c { d4 r r2 r8 d ees g, fis4 a d,8 d'16 c bes8 c16 d ees2 ~ - ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a + 8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a d,8 d'16 c bes8 c16 d ees8 c a fis' g f ees d c bes a g c a d d, g2\fermata diff --git a/Documentation/de/extending/programming-interface.itely b/Documentation/de/extending/programming-interface.itely index 4b1b43a006..6ee61875f0 100644 --- a/Documentation/de/extending/programming-interface.itely +++ b/Documentation/de/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @c Translators: Till Paala @@ -1399,7 +1399,7 @@ neu ausgerichtet wird. \relative c'' { \override Tie.after-line-breaking = #my-callback - c1 ~ \break c2 ~ c + c1 ~ \break c2 ~ 2 } @end lilypond diff --git a/Documentation/de/learning/common-notation.itely b/Documentation/de/learning/common-notation.itely index e108d0b0c0..649683986a 100644 --- a/Documentation/de/learning/common-notation.itely +++ b/Documentation/de/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: @@ -250,7 +250,7 @@ Ein @notation{Bindebogen} wird geschrieben, indem man eine Tilde @code{~} an die erste der zu verbindenden Noten hängt. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 +g4~ 4 c2~ | 4~ 8 a~ 2 @end lilypond @@ -296,7 +296,7 @@ für größere Notengruppen gesetzt werden. Binde- und Legatobögen können geschachtelt werden. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1201,7 +1201,7 @@ in Figaros Arie @notation{Largo al factotum} gesungen werden muss. \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1232,7 +1232,7 @@ aus Händels @notation{Judas Maccabäus}: \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/de/learning/fundamental.itely b/Documentation/de/learning/fundamental.itely index 77e3112483..595a7f5ab0 100644 --- a/Documentation/de/learning/fundamental.itely +++ b/Documentation/de/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @c Translators: Till Paala, Reinhold Kainhofer @node Grundbegriffe @@ -778,7 +778,7 @@ Dynamik usw. entsprechend eingestellt. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -817,7 +817,7 @@ hier an der blauen Dreieckstimme gezeigt. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1105,25 +1105,25 @@ mit Text, Bögen und Dynamikbezeichnung anstellen: @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1153,7 +1153,7 @@ Phrasierungsbogen ober sie gesetzt werden. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1186,7 +1186,7 @@ sein, Noten zu setzen: \voiceTwo r8 e4 d c8~ << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b4 c2 | @@ -1219,7 +1219,7 @@ an denen die Stimme nicht auftaucht, wie etwa hier: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1368,7 +1368,7 @@ nicht als Noten interpretiert werden kann. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -3172,15 +3172,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c2 | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d e8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d e8~ 8es16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/de/learning/tweaks.itely b/Documentation/de/learning/tweaks.itely index 0c64ba2469..0d407cbb59 100644 --- a/Documentation/de/learning/tweaks.itely +++ b/Documentation/de/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node Die Ausgabe verändern @chapter Die Ausgabe verändern @@ -3119,12 +3119,12 @@ stößt der Balken mit den oberen Bögen zusammen: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3144,7 +3144,7 @@ hochgeschoben werden, etwa auf 1: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3152,7 +3152,7 @@ hochgeschoben werden, etwa auf 1: } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3347,7 +3347,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3408,7 +3408,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3484,7 +3484,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3570,7 +3570,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3802,7 +3802,7 @@ man zwei Stimmen benutzt, wobei die überbundenen Noten sich in der selben befinden, @lilypond[quote,fragment,relative=2] -<< { b8~ b8\noBeam } \\ { b[ g8] } >> +<< { b8~ 8\noBeam } \\ { b[ g8] } >> @end lilypond @noindent @@ -3818,7 +3818,7 @@ den Stimmen stattfindet: << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3835,7 +3835,7 @@ gesetzt wird: { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b[ g8] } diff --git a/Documentation/de/notation/changing-defaults.itely b/Documentation/de/notation/changing-defaults.itely index e528f8ae6a..f2a3f2a967 100644 --- a/Documentation/de/notation/changing-defaults.itely +++ b/Documentation/de/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -4115,7 +4115,7 @@ lösen würde. @lilypond[verbatim,quote,relative=1] << - { e1~ e } + { e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } >> @@ -4151,7 +4151,7 @@ wird. << { \once \override Tie.control-points = #'((1 . -1) (3 . 0.6) (12.5 . 0.6) (14.5 . -1)) - e1~ e1 + e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } diff --git a/Documentation/de/notation/fretted-strings.itely b/Documentation/de/notation/fretted-strings.itely index 58e9539e72..226e13fa49 100644 --- a/Documentation/de/notation/fretted-strings.itely +++ b/Documentation/de/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -191,7 +191,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -218,7 +218,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -288,7 +288,7 @@ dass er durch @code{\tabChordRepeats} zur Verfügung gestellt wird. @lilypond[quote,verbatim] guitar = \relative c' { - r8 <gis-2 cis-3 b-0>~ q4 q8~ q q4 + r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } \new StaffGroup << @@ -309,7 +309,7 @@ gesetzt. Das gilt auch für die zweite Klammer einer Wiederholung. ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ + 2 g2~ } \alternative { { g4 f2. } @@ -349,7 +349,7 @@ Bundnummern in Klammern gesetzt werden: ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ } + 2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } diff --git a/Documentation/de/notation/input.itely b/Documentation/de/notation/input.itely index 23f1578226..ff1b13fba2 100644 --- a/Documentation/de/notation/input.itely +++ b/Documentation/de/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @c Translators: Till Paala @@ -2919,8 +2919,8 @@ auf den Bereich zwischen 0.2 und 0.5 eingeschränkt. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -2970,8 +2970,8 @@ diese Einstellung korrekt funktioniert. \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3043,8 +3043,8 @@ Lautstärkewerte, die denen des vorigen Beispiels entsprechen. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { diff --git a/Documentation/de/notation/percussion.itely b/Documentation/de/notation/percussion.itely index 786ba54c4f..02e265c921 100644 --- a/Documentation/de/notation/percussion.itely +++ b/Documentation/de/notation/percussion.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -517,7 +517,7 @@ bellstaff = { \drummode { \time 2/4 rb8 rb cb cb16 rb-> ~ | - rb16 rb8 rb16 cb8 cb | + 16 rb8 rb16 cb8 cb | } } @end lilypond diff --git a/Documentation/de/notation/pitches.itely b/Documentation/de/notation/pitches.itely index 70129c81c7..bfe3fa73c7 100644 --- a/Documentation/de/notation/pitches.itely +++ b/Documentation/de/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @c Translators: Till Paala @@ -417,7 +417,7 @@ Versetzungzeichen von übergebundenen Noten werden nur dann gesetzt, wenn ein neues System begonnen wird: @lilypond[verbatim,quote,relative=2] -cis1~ cis~ +cis1~ 1~ \break cis @end lilypond @@ -3066,8 +3066,8 @@ benutzt werden: e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/de/notation/rhythms.itely b/Documentation/de/notation/rhythms.itely index 5a8bb1adc8..e1d0ea5e93 100644 --- a/Documentation/de/notation/rhythms.itely +++ b/Documentation/de/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -434,7 +434,7 @@ Ein Bindebogen wird mit der Tilde @code{~} (AltGr++) notiert. @lilypond[quote,verbatim,relative=2] -a2 ~ a +a2 ~ 2 @end lilypond Bindebögen werden eingesetzt, wenn die Note entweder über eine @@ -445,8 +445,8 @@ inneren Unterteilungen von Takten hinüberreichen: @lilypond[quote] \relative c' { - r8 c8 ~ c2 r4 | - r8^"not" c2 ~ c8 r4 + r8 c8 ~ 2 r4 | + r8^"not" c2 ~ 8 r4 } @end lilypond @@ -537,26 +537,26 @@ von Strichen und durchgehender Linie definiert werden. @lilypond[quote, verbatim, relative=1] \tieDotted -c2 ~ c +c2 ~ 2 \tieDashed -c2 ~ c +c2 ~ 2 \tieHalfDashed -c2 ~ c +c2 ~ 2 \tieHalfSolid -c2 ~ c +c2 ~ 2 \tieSolid -c2 ~ c +c2 ~ 2 @end lilypond Eigene Strichelungsmuster können definiert werden: @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2 ~ c +c2 ~ 2 \tieDashPattern #0.7 #1.5 -c2 ~ c +c2 ~ 2 \tieSolid -c2 ~ c +c2 ~ 2 @end lilypond Die Definition von Muster für die Strichelung der Bindebögen hat diff --git a/Documentation/de/notation/simultaneous.itely b/Documentation/de/notation/simultaneous.itely index 1eb7afce45..d55ef16849 100644 --- a/Documentation/de/notation/simultaneous.itely +++ b/Documentation/de/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translators: Till Paala @@ -418,7 +418,7 @@ ist im Beispiel unten dargestellt: \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -499,7 +499,7 @@ Das erste Beispiel könnte also auch wie folgt notiert werden: << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1154,12 +1154,12 @@ die Takte müssen die gleiche Länge haben.} \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1180,12 +1180,12 @@ relative Noten von @code{voiceA} die Noten von @code{voiceB}. \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/de/notation/staff.itely b/Documentation/de/notation/staff.itely index 1c694be3a4..e2e8895aad 100644 --- a/Documentation/de/notation/staff.itely +++ b/Documentation/de/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -1087,7 +1087,7 @@ wird dann benutzt, um den Wechsel vorzunehmen: R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/de/notation/vocal.itely b/Documentation/de/notation/vocal.itely index 5e81851fe6..79428ef579 100644 --- a/Documentation/de/notation/vocal.itely +++ b/Documentation/de/notation/vocal.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Till Paala @@ -677,8 +677,8 @@ Melismen werden automatisch zu Noten erstellt, die übergebunden sind: \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ @@ -780,7 +780,7 @@ benutzen, ohne dass sie Melismen bezeichnen, wenn \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4 ~ f + g8 [ f ] f4 ~ 4 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son @@ -808,7 +808,7 @@ angegeben werden: \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] ~ f4 ~ f + g8 [ f ] ~ 4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ diff --git a/Documentation/es/essay/engraving.itely b/Documentation/es/essay/engraving.itely index a926cb5b32..38754f8fe0 100644 --- a/Documentation/es/essay/engraving.itely +++ b/Documentation/es/essay/engraving.itely @@ -1770,9 +1770,9 @@ partI = \relative c' { fis8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d - ees4 ~ ees16 d c bes a4 r8 ees'16 d + ees4 ~ 16 d c bes a4 r8 ees'16 d c8 d16 ees d8 e16 fis g8 fis16 g a4 ~ - a8 d, g f ees d c bes + 8 d, g f ees d c bes a2 g\fermata \bar "|." } @@ -1781,7 +1781,7 @@ partII = \relative c' { d4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ - g2 r8 d' ees g, + 2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 @@ -1789,7 +1789,7 @@ partII = \relative c' { partIII = \relative c' { \voiceOne r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a - bes2 ~ bes8 b16 a g8 a16 b + bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g @@ -1800,7 +1800,7 @@ partIV = \relative c { d4 r r2 r8 d ees g, fis4 a d,8 d'16 c bes8 c16 d ees2 ~ - ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a + 8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a d,8 d'16 c bes8 c16 d ees8 c a fis' g f ees d c bes a g c a d d, g2\fermata diff --git a/Documentation/es/extending/programming-interface.itely b/Documentation/es/extending/programming-interface.itely index 9ccb31560b..6917acaaa7 100644 --- a/Documentation/es/extending/programming-interface.itely +++ b/Documentation/es/extending/programming-interface.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @node Interfaces para programadores @chapter Interfaces para programadores @@ -1523,7 +1523,7 @@ arriba. \override Tie.after-line-breaking = #my-callback c1 ~ \break - c2 ~ c + c2 ~ 2 } @end lilypond diff --git a/Documentation/es/learning/common-notation.itely b/Documentation/es/learning/common-notation.itely index 487ce0e3da..7e9e8a4e76 100644 --- a/Documentation/es/learning/common-notation.itely +++ b/Documentation/es/learning/common-notation.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: (different from policy.txt!) @@ -309,7 +309,7 @@ Una @notation{ligadura de unión} se crea adjuntando un carácter de tilde curva @code{~} a la primera nota ligada: @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 | +g4~ 4 c2~ | 4~ 8 a~ 2 | @end lilypond @node Ligaduras de expresión @@ -367,7 +367,7 @@ sobre grupos mayores de notas. Las ligaduras de unión y de expresión se pueden anidar unas dentro de otras. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1279,7 +1279,7 @@ el aria de FÃgaro @notation{Largo al factotum}: \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1310,7 +1310,7 @@ del @notation{Judas Macabeo} de Haendel: \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/es/learning/fundamental.itely b/Documentation/es/learning/fundamental.itely index 72290b6fa6..0f64355135 100644 --- a/Documentation/es/learning/fundamental.itely +++ b/Documentation/es/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @node Conceptos fundamentales @chapter Conceptos fundamentales @@ -726,7 +726,7 @@ correcta. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -765,7 +765,7 @@ construcciones, como se indica aquà en la voz de triángulos azules. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1050,25 +1050,25 @@ las ligaduras de unión y de expresión y las indicaciones de dinámica: @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1098,7 +1098,7 @@ pueda trazar una ligadura por encima de ellas. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1129,7 +1129,7 @@ de tipografiar la música. \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1159,7 +1159,7 @@ que una voz está en silencio, como aquÃ: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1298,7 +1298,7 @@ no como música. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -3026,15 +3026,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/es/learning/tweaks.itely b/Documentation/es/learning/tweaks.itely index 0d4e010418..3c996d9560 100644 --- a/Documentation/es/learning/tweaks.itely +++ b/Documentation/es/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node Trucar la salida @chapter Trucar la salida @@ -3316,12 +3316,12 @@ choca con las ligaduras: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3340,7 +3340,7 @@ central hasta, digamos, 1 espacio: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3348,7 +3348,7 @@ central hasta, digamos, 1 espacio: } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3540,7 +3540,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3598,7 +3598,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3674,7 +3674,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3757,7 +3757,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3996,7 +3996,7 @@ pueden conectar mediante ligaduras de unión dos notas que estén en la misma voz. Usando dos voces, con las notas ligadas en una de ellas: @lilypond[quote,fragment,relative=2] -<< { b8~ b\noBeam } \\ { b8[ g] } >> +<< { b8~ 8\noBeam } \\ { b8[ g] } >> @end lilypond @noindent @@ -4010,7 +4010,7 @@ de que la ligadura se cruza entre las voces: << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -4026,7 +4026,7 @@ valor de longitud @code{length} a @code{8}, { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -4050,7 +4050,7 @@ volver a escribir el ejemplo anterior como \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/es/notation/changing-defaults.itely b/Documentation/es/notation/changing-defaults.itely index 6e53296f7b..c0a7dc1210 100644 --- a/Documentation/es/notation/changing-defaults.itely +++ b/Documentation/es/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Translation of GIT committish: ba8e0139b12ce248a00d8621104117f92bac34a6 Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Cambiar los valores por omisión @chapter Cambiar los valores por omisión @@ -4334,7 +4334,7 @@ resulta óptima, y @code{\tieDown} no es la solución. @lilypond[verbatim,quote,relative=1] << - { e1~ e } + { e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } >> @@ -4381,7 +4381,7 @@ mitad de un espacio de pentagrama: << { \shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie - e1~ e + e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } diff --git a/Documentation/es/notation/fretted-strings.itely b/Documentation/es/notation/fretted-strings.itely index 5fd9c0a235..127763f4c9 100644 --- a/Documentation/es/notation/fretted-strings.itely +++ b/Documentation/es/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Instrumentos de cuerda con trastes @section Instrumentos de cuerda con trastes @@ -195,7 +195,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -221,7 +221,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -290,7 +290,7 @@ es tan común que está disponible como @code{\tabChordRepeats}. @lilypond[quote,verbatim] guitar = \relative c' { - r8 <gis-2 cis-3 b-0>~ q4 q8~ q q4 + r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } \new StaffGroup << @@ -312,7 +312,7 @@ una repetición. ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ + 2 g2~ } \alternative { { g4 f2. } @@ -352,7 +352,7 @@ de imprimir los números de traste entre paréntesis: ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ } + 2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } diff --git a/Documentation/es/notation/input.itely b/Documentation/es/notation/input.itely index 8bd99ead59..b41f7d4843 100644 --- a/Documentation/es/notation/input.itely +++ b/Documentation/es/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @node Entrada y salida generales @chapter Entrada y salida generales @@ -3235,8 +3235,8 @@ volumen general MIDI está limitado al intervalo desde 0.2 hasta \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3285,8 +3285,8 @@ de la flauta. \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3360,8 +3360,8 @@ anterior. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { diff --git a/Documentation/es/notation/percussion.itely b/Documentation/es/notation/percussion.itely index a0ac068525..23ed589503 100644 --- a/Documentation/es/notation/percussion.itely +++ b/Documentation/es/notation/percussion.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Percusión @section Percusión @@ -527,7 +527,7 @@ bellstaff = { \drummode { \time 2/4 rb8 rb cb cb16 rb-> ~ | - rb16 rb8 rb16 cb8 cb | + 16 rb8 rb16 cb8 cb | } } @end lilypond diff --git a/Documentation/es/notation/pitches.itely b/Documentation/es/notation/pitches.itely index da52953fd2..86c17e91e8 100644 --- a/Documentation/es/notation/pitches.itely +++ b/Documentation/es/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @node Alturas @@ -412,7 +412,7 @@ Las alteraciones sobre notas unidas por ligadura sólo se imprimen al comienzo de un sistema: @lilypond[verbatim,quote,relative=2,ragged-right] -cis1~ cis~ +cis1~ 1~ \break cis @end lilypond @@ -3102,8 +3102,8 @@ pero con el ritmo especificado. Estas cabezas de nota se crean asÃ: e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/es/notation/rhythms.itely b/Documentation/es/notation/rhythms.itely index 7061807060..df66ff59d3 100644 --- a/Documentation/es/notation/rhythms.itely +++ b/Documentation/es/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Duraciones @section Duraciones @@ -439,7 +439,7 @@ notas que se quieren unir. Esto indica que la nota se une a la siguiente, que debe tener la misma altura. @lilypond[quote,verbatim,relative=2] -a2~ a4~ a16 r r8 +a2~ 4~ 16 r r8 @end lilypond Se usan ligaduras de unión bien cuando la nota atraviesa la barra de @@ -450,8 +450,8 @@ subdivisiones del compás de mayor duración: @c KEEP LY @lilypond[verbatim,quote] \relative c' { - r8^"sÃ" c~ c2 r4 | - r8^"no" c2~ c8 r4 + r8^"sÃ" c~ 2 r4 | + r8^"no" c2~ 8 r4 } @end lilypond @@ -539,26 +539,26 @@ punteadas o una combinación de continuas y discontinuas. @lilypond[quote, verbatim, relative=1] \tieDotted -c2~ c +c2~ 2 \tieDashed -c2~ c +c2~ 2 \tieHalfDashed -c2~ c +c2~ 2 \tieHalfSolid -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Se pueden especificar patrones de discontinuidad personalizados: @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2~ c +c2~ 2 \tieDashPattern #0.7 #1.5 -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Las definiciones de patrones de discontinuidad para las ligaduras de diff --git a/Documentation/es/notation/simultaneous.itely b/Documentation/es/notation/simultaneous.itely index e3ca26276f..30bdcacfc0 100644 --- a/Documentation/es/notation/simultaneous.itely +++ b/Documentation/es/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translation status: post-GDP @@ -412,7 +412,7 @@ siguiente: \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -491,7 +491,7 @@ El primer ejemplo podrÃa haberse tipografiado de la manera siguiente: << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1157,12 +1157,12 @@ los compases deben tener la misma longitud.} \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1183,12 +1183,12 @@ ignoran a las notas que hay en @code{vozB}. \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/es/notation/staff.itely b/Documentation/es/notation/staff.itely index 8d0a19ed66..40f12676f9 100644 --- a/Documentation/es/notation/staff.itely +++ b/Documentation/es/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Notación de los pentagramas @section Notación de los pentagramas @@ -1061,7 +1061,7 @@ musical para declarar el cambio de instrumento: R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/es/notation/vocal.itely b/Documentation/es/notation/vocal.itely index 3bfd91884c..fb5978b642 100644 --- a/Documentation/es/notation/vocal.itely +++ b/Documentation/es/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Música vocal @section Música vocal @@ -683,8 +683,8 @@ ligadura de unión: \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ @@ -785,7 +785,7 @@ de @code{melismaBusyProperties}: \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4 ~ f + g8 [ f ] f4 ~ 4 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son @@ -814,7 +814,7 @@ dentro del melisma: \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] ~ f4 ~ f + g8 [ f ] ~ 4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely index c27c0f7b0e..5040f2771b 100644 --- a/Documentation/essay/engraving.itely +++ b/Documentation/essay/engraving.itely @@ -1664,9 +1664,9 @@ partI = \relative c' { fis8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d - ees4 ~ ees16 d c bes a4 r8 ees'16 d + ees4 ~ 16 d c bes a4 r8 ees'16 d c8 d16 ees d8 e16 fis g8 fis16 g a4 ~ - a8 d, g f ees d c bes + 8 d, g f ees d c bes a2 g\fermata \bar "|." } @@ -1675,7 +1675,7 @@ partII = \relative c' { d4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ - g2 r8 d' ees g, + 2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 @@ -1683,7 +1683,7 @@ partII = \relative c' { partIII = \relative c' { \voiceOne r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a - bes2 ~ bes8 b16 a g8 a16 b + bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g @@ -1694,7 +1694,7 @@ partIV = \relative c { d4 r r2 r8 d ees g, fis4 a d,8 d'16 c bes8 c16 d ees2 ~ - ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a + 8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a d,8 d'16 c bes8 c16 d ees8 c a fis' g f ees d c bes a g c a d d, g2\fermata diff --git a/Documentation/extending/programming-interface.itely b/Documentation/extending/programming-interface.itely index 528e75b8b9..3494a5fdd1 100644 --- a/Documentation/extending/programming-interface.itely +++ b/Documentation/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @node Interfaces for programmers @chapter Interfaces for programmers @@ -1418,7 +1418,7 @@ of the broken tie is repositioned. \override Tie.after-line-breaking = #my-callback c1 ~ \break - c2 ~ c + c2 ~ 2 } @end lilypond diff --git a/Documentation/fr/essay/engraving.itely b/Documentation/fr/essay/engraving.itely index 2c0ad5209f..81828a21b3 100644 --- a/Documentation/fr/essay/engraving.itely +++ b/Documentation/fr/essay/engraving.itely @@ -1775,9 +1775,9 @@ partI = \relative c' { fis8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d - ees4 ~ ees16 d c bes a4 r8 ees'16 d + ees4 ~ 16 d c bes a4 r8 ees'16 d c8 d16 ees d8 e16 fis g8 fis16 g a4 ~ - a8 d, g f ees d c bes + 8 d, g f ees d c bes a2 g\fermata \bar "|." } @@ -1786,7 +1786,7 @@ partII = \relative c' { d4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ - g2 r8 d' ees g, + 2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 @@ -1794,7 +1794,7 @@ partII = \relative c' { partIII = \relative c' { \voiceOne r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a - bes2 ~ bes8 b16 a g8 a16 b + bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g @@ -1805,7 +1805,7 @@ partIV = \relative c { d4 r r2 r8 d ees g, fis4 a d,8 d'16 c bes8 c16 d ees2 ~ - ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a + 8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a d,8 d'16 c bes8 c16 d ees8 c a fis' g f ees d c bes a g c a d d, g2\fermata diff --git a/Documentation/fr/extending/programming-interface.itely b/Documentation/fr/extending/programming-interface.itely index 7d9737154a..37ed0b8832 100644 --- a/Documentation/fr/extending/programming-interface.itely +++ b/Documentation/fr/extending/programming-interface.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Gilles Thibault @@ -1551,7 +1551,7 @@ rehaussé. \override Tie.after-line-breaking = #my-callback c1 ~ \break - c2 ~ c + c2 ~ 2 } @end lilypond diff --git a/Documentation/fr/learning/common-notation.itely b/Documentation/fr/learning/common-notation.itely index 7ce9e53cc1..46548572f0 100644 --- a/Documentation/fr/learning/common-notation.itely +++ b/Documentation/fr/learning/common-notation.itely @@ -26,7 +26,7 @@ Tutorial guidelines: (different from policy.txt!) @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translators: Nicolas Grandclaude, Ludovic Sardain, Gauvain Pocentek @c Translation checkers: Jean-Charles Malahieude, Valentin Villenave, John Mandereau @@ -313,7 +313,7 @@ liaison de tenue --, on ajoute un tilde @code{~} à la première note liée. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4 ~ c8 a8 ~ a2 | +g4~ 4 c2~ | 4 ~ 8 a8 ~ 2 | @end lilypond @@ -381,7 +381,7 @@ le @emph{legato} indique une articulation de plusieurs notes, enchâssées dans un @emph{legato} ou un phrasé. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @seealso @@ -1289,7 +1289,7 @@ la syllabe @emph{al} est chantée sur la même note que @emph{go}. \clef bass \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1319,7 +1319,7 @@ L'exemple suivant est extrait de @emph{Judas Macchabée} de Händel. \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/fr/learning/fundamental.itely b/Documentation/fr/learning/fundamental.itely index d90720d173..31a0606a12 100644 --- a/Documentation/fr/learning/fundamental.itely +++ b/Documentation/fr/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: John Mandereau @@ -710,7 +710,7 @@ automatiquement. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -749,7 +749,7 @@ liaison de prolongation entre deux constructions. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1032,25 +1032,25 @@ annotations, liaisons de prolongation ou de phrasé, et sur les nuances. @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1080,7 +1080,7 @@ liaison de phrasé à l'ensemble. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1110,7 +1110,7 @@ plus naturelle de saisir la musique : \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1141,7 +1141,7 @@ voix. \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 | + s4 r8 e4 d c8 ~ | 8 b16 a b8 g ~ 2 | } % Initiate third voice \new Voice { @@ -1286,7 +1286,7 @@ seront interprétées comme telles, et non comme de la musique. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -2991,15 +2991,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/fr/learning/tweaks.itely b/Documentation/fr/learning/tweaks.itely index f2c3288126..d66c0d0d7c 100644 --- a/Documentation/fr/learning/tweaks.itely +++ b/Documentation/fr/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @c Translators: Valentin Villenave, Nicolas Klutchnikoff, Damien Heurtebise @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -3289,12 +3289,12 @@ ligature chevauchent les liaisons de tenue : { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3313,7 +3313,7 @@ au-dessous de la ligne médiane mais, disons, à  1 : { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3321,7 +3321,7 @@ au-dessous de la ligne médiane mais, disons, à  1 : } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3515,7 +3515,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3575,7 +3575,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3649,7 +3649,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3732,7 +3732,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3973,7 +3973,7 @@ peuvent être ainsi liées. La solution consiste à utiliser deux voix, dont l'une avec les notes liées @lilypond[quote,fragment,relative=2] -<< { b8~ b8\noBeam } \\ { b[ g8] } >> +<< { b8~ 8\noBeam } \\ { b[ g8] } >> @end lilypond @noindent @@ -3987,7 +3987,7 @@ on a alors l'impression que la liaison couvre les deux voix. << { \tweak Flag.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -4003,7 +4003,7 @@ réglant la longueur (@code{length}) sur @code{8}, { \tweak Flag.transparent ##t \tweak Stem.length #8 - b8~ b8\noBeam + b8~ 8\noBeam } \\ { b[ g8] } @@ -4028,7 +4028,7 @@ l'exemple précédent de cette manière : \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/fr/notation/changing-defaults.itely b/Documentation/fr/notation/changing-defaults.itely index 4ca567912e..8c5491ae81 100644 --- a/Documentation/fr/notation/changing-defaults.itely +++ b/Documentation/fr/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Gilles Thibault @@ -4455,7 +4455,7 @@ des plus heureuses, même en optant pour un @code{\tieDown}. @lilypond[verbatim,quote,relative=1] << - { e1~ e } + { e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } >> @@ -4503,7 +4503,7 @@ de portée : << { \shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie - e1~ e + e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } diff --git a/Documentation/fr/notation/fretted-strings.itely b/Documentation/fr/notation/fretted-strings.itely index 98de5e2874..af1a155842 100644 --- a/Documentation/fr/notation/fretted-strings.itely +++ b/Documentation/fr/notation/fretted-strings.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Matthieu Jacquot @c Translation checkers: Jean-Charles Malahieude @@ -194,7 +194,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c ~ c2\! + c8_.\<\( c16 c ~ 2\! c'2.\prall\) } @@ -220,7 +220,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c ~ c2\! + c8_.\<\( c16 c ~ 2\! c'2.\prall\) } @@ -290,7 +290,7 @@ instruction est abrégée en @code{\tabChordRepeats}. @lilypond[quote,verbatim] guitar = \relative c' { - r8 <gis-2 cis-3 b-0>~ q4 q8~ q q4 + r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } \new StaffGroup << @@ -312,7 +312,7 @@ seconde alternative d'une répétition. ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ + 2 g2~ } \alternative { { g4 f2. } @@ -352,7 +352,7 @@ ces cases entre parenthèses. ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ } + 2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } diff --git a/Documentation/fr/notation/input.itely b/Documentation/fr/notation/input.itely index a4bf398bf8..cbf85e9763 100644 --- a/Documentation/fr/notation/input.itely +++ b/Documentation/fr/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.11" +@c \version "2.19.2" @c Translators: Jean-Charles Malahieude, Valentin Villenave @@ -3271,8 +3271,8 @@ entre 0,2 et 0,5 : \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3323,8 +3323,8 @@ indication de nuance. \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3395,8 +3395,8 @@ flûte et de la clarinette -- au même niveau que dans le précédent. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { diff --git a/Documentation/fr/notation/percussion.itely b/Documentation/fr/notation/percussion.itely index 3a0dfcdddf..c3cb4c8b1b 100644 --- a/Documentation/fr/notation/percussion.itely +++ b/Documentation/fr/notation/percussion.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: John Mandereau @@ -532,7 +532,7 @@ bellstaff = { \drummode { \time 2/4 rb8 rb cb cb16 rb-> ~ | - rb16 rb8 rb16 cb8 cb | + 16 rb8 rb16 cb8 cb | } } @end lilypond diff --git a/Documentation/fr/notation/pitches.itely b/Documentation/fr/notation/pitches.itely index f468db5728..1bf14e83c9 100644 --- a/Documentation/fr/notation/pitches.itely +++ b/Documentation/fr/notation/pitches.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @c Translators: Frédéric Chiasson @c Translation checkers: Valentin Villenave, Jean-Charles Malahieude @@ -403,7 +403,7 @@ Lorsqu'une note est prolongée par une liaison de tenue, l'altération ne sera réimprimée que s'il y a un saut de ligne. @lilypond[verbatim,quote,relative=2,ragged-right] -cis1 ~ cis ~ +cis1 ~ 1 ~ \break cis @end lilypond @@ -3027,8 +3027,8 @@ créées ainsi : e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/fr/notation/rhythms.itely b/Documentation/fr/notation/rhythms.itely index d007c5194b..855d022010 100644 --- a/Documentation/fr/notation/rhythms.itely +++ b/Documentation/fr/notation/rhythms.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Frédéric Chiasson, Jean-Charles Malahieude @c Translation checkers: Valentin Villenave, François Martin, Xavier Scheuer @@ -443,7 +443,7 @@ notes à lier. Ceci indique que la note en question sera liée à la suivante, qui doit être de la même hauteur. @lilypond[quote,verbatim,relative=2] -a2~ a4~ a16 r r8 +a2~ 4~ 16 r r8 @end lilypond Les liaisons de tenue sont utilisées soit lorsque la note dépasse de la @@ -454,8 +454,8 @@ longues doivent s'aligner sur les subdivisions de la mesure, comme ici : @c KEEP LY @lilypond[verbatim,quote] \relative c' { - r8^"oui" c8~ c2 r4 | - r8^"non" c2~ c8 r4 + r8^"oui" c8~ 2 r4 | + r8^"non" c2~ 8 r4 } @end lilypond @@ -543,26 +543,26 @@ continue, discontinue ou pointillée. @lilypond[quote, verbatim, relative=1] \tieDotted -c2~ c +c2~ 2 \tieDashed -c2~ c +c2~ 2 \tieHalfDashed -c2~ c +c2~ 2 \tieHalfSolid -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Il est même possible d'en personnaliser l'allure : @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2~ c +c2~ 2 \tieDashPattern #0.7 #1.5 -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Que ce soit pour une tenue ou un phrasé, le motif d'une ligne diff --git a/Documentation/fr/notation/simultaneous.itely b/Documentation/fr/notation/simultaneous.itely index 4d6b176905..e8deb0d62d 100644 --- a/Documentation/fr/notation/simultaneous.itely +++ b/Documentation/fr/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translators: Frédéric Chiasson, Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Charles Malahieude, John Mandereau @@ -423,7 +423,7 @@ sur une portée est la suivante@tie{}: \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -504,7 +504,7 @@ sont réglés de manière appropriée. En voici un exemple@tie{}: << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1136,12 +1136,12 @@ les mesures doivent être de longueur identique.} \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1161,12 +1161,12 @@ des lignes saisies@tie{}; en d'autres termes, les notes de la \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/fr/notation/staff.itely b/Documentation/fr/notation/staff.itely index 9e50bb07b2..8873a634e6 100644 --- a/Documentation/fr/notation/staff.itely +++ b/Documentation/fr/notation/staff.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: John Mandereau @@ -1063,7 +1063,7 @@ substitution : R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/fr/notation/vocal.itely b/Documentation/fr/notation/vocal.itely index 1e3a6f93dd..03a2279d59 100644 --- a/Documentation/fr/notation/vocal.itely +++ b/Documentation/fr/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Valentin Villenave, Jean-Charles Malahieude @c Translation checkers: Jean-Jacques Gerbaud @@ -663,8 +663,8 @@ Une liaison de prolongation constitue de fait un mélisme : \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ @@ -768,7 +768,7 @@ définir @code{melismaBusyProperties} : \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4 ~ f + g8 [ f ] f4 ~ 4 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son @@ -797,7 +797,7 @@ par un simple caractère souligné pour chaque note à inclure : \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] ~ f4 ~ f + g8 [ f ] ~ 4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ diff --git a/Documentation/hu/learning/common-notation.itely b/Documentation/hu/learning/common-notation.itely index 29fb660a1a..95cebd4e56 100644 --- a/Documentation/hu/learning/common-notation.itely +++ b/Documentation/hu/learning/common-notation.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @node Elemi kottaÃrás @chapter Elemi kottaÃrás @@ -188,8 +188,8 @@ Fogalomtár: @rglos{tie}. karaktert Ãrunk. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ -c4 ~ c8 a8 ~ a2 +g4~ 4 c2~ +4 ~ 8 a8 ~ 2 @end lilypond @subheading KötÅ‘Ãv @@ -230,7 +230,7 @@ meg, és több hangot átÃvelhet. Természetesen egy kötÅ‘Ãven belül lehetne átkötött hangok. @lilypond[verbatim,quote,relative=2] -c2~( c8 fis fis4 ~ fis2 g2) +c2~( c8 fis fis4 ~ 2 g2) @end lilypond @@ -1017,7 +1017,7 @@ kezdetű áriájában a @notation{Largo} szó @notation{go} szótagját és az \clef bass \key c \major \time 6/8 - c4.~ c8 d b c([ d]) b c d b c + c4.~ 8 d b c([ d]) b c d b c } \addlyrics { Lar -- go_al fac -- to -- tum del -- la cit -- tà @@ -1046,7 +1046,7 @@ mely Händel @notation{Júdás Makkabeus} c. oratóriumából való: \key f \major \time 6/8 \partial 8 - c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4 + c8 c([ bes]) a a([ g]) f f'4. b, c4.~ 4 } \addlyrics { Let flee -- cy flocks the hills a -- dorn, __ diff --git a/Documentation/hu/learning/fundamental.itely b/Documentation/hu/learning/fundamental.itely index 06ed20b8e0..69104f29c6 100644 --- a/Documentation/hu/learning/fundamental.itely +++ b/Documentation/hu/learning/fundamental.itely @@ -10,7 +10,7 @@ @c -*- coding: utf-8; mode: texinfo; -*- -@c \version "2.17.29" +@c \version "2.19.2" @node Alapfogalmak @chapter Alapfogalmak @translationof Fundamental concepts @@ -636,7 +636,7 @@ stems, ties, dynamics etc., is set appropriately. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> - << { d2 e2 } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b4 c2 } >> + << { d2 e2 } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b4 c2 } >> } @end lilypond @@ -674,7 +674,7 @@ blue triangle voice. { d2 e2 } \\ % Voice 2 continues - { c8 b16 a b8 g ~ g2 } + { c8 b16 a b8 g ~ 2 } \\ { \voiceThreeStyle @@ -955,25 +955,25 @@ markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] \relative c'{ % Default behavior or behavior after \oneVoice - c d8~ d e4( f g a) b-> c + c d8~ 8 e4( f g a) b-> c } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c'{ \voiceOne - c d8~ d e4( f g a) b-> c + c d8~ 8 e4( f g a) b-> c \oneVoice - c, d8~ d e4( f g a) b-> c + c, d8~ 8 e4( f g a) b-> c } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c'{ \voiceTwo - c d8~ d e4( f g a) b-> c + c d8~ 8 e4( f g a) b-> c \oneVoice - c, d8~ d e4( f g a) b-> c + c, d8~ 8 e4( f g a) b-> c } @end lilypond @@ -1002,7 +1002,7 @@ permitting a phrasing slur to be drawn over them. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1033,7 +1033,7 @@ typeset the music: \voiceTwo r8 e4 d c8~ << - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \new Voice { \voiceThree s4 b4 c2 @@ -1064,7 +1064,7 @@ as here: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1195,7 +1195,7 @@ rather than music. @lilypond[quote,verbatim] global = { \time 6/8 \partial 8 \key f \major} SopOneMusic = \relative c'' { - c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 | } + c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 | } SopTwoMusic = \relative c' { r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | } SopOneLyrics = \lyricmode { @@ -2979,15 +2979,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c2 } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ + ees16 d ees8~ 16 f ees d c8 d~ d c~ c c4 b8 c8. g16 c b c d } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees - f ees f d g aes g f ees d e8~ ees16 f ees d + c16 b c8~ 16 b c g a8 g~ 16 g aes ees + f ees f d g aes g f ees d e8~ 8es16 f ees d } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 + r8 c16 d ees d ees8~ 16 a, b g c b c8 r16 g ees f g f g8 c,2 } diff --git a/Documentation/it/learning/common-notation.itely b/Documentation/it/learning/common-notation.itely index f7b7fa20db..787d382643 100644 --- a/Documentation/it/learning/common-notation.itely +++ b/Documentation/it/learning/common-notation.itely @@ -9,7 +9,7 @@ @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: (different from policy.txt!) @@ -286,7 +286,7 @@ Una @notation{legatura di valore} si ottiene apponendo una tilde @code{~} alla prima nota della legatura. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 | +g4~ 4 c2~ | 4~ 8 a~ 2 | @end lilypond @node Legature di portamento @@ -339,7 +339,7 @@ con ampi gruppi di note. Legature di valore e legature di portamento possono essere annidate le une dentro le altre. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1219,7 +1219,7 @@ Ecco un esempio tratto dal @notation{Figaro} di Rossini, dove \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1250,7 +1250,7 @@ più semplice, ovvero @code{\addlyrics}. Ecco un esempio tratto dal \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/it/learning/fundamental.itely b/Documentation/it/learning/fundamental.itely index 8069970814..a0d0636bce 100644 --- a/Documentation/it/learning/fundamental.itely +++ b/Documentation/it/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @node Concetti fondamentali @chapter Concetti fondamentali @@ -685,7 +685,7 @@ legature di valore, dinamica, etc., è impostata correttamente. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -723,7 +723,7 @@ voce con i triangoli blu. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1001,25 +1001,25 @@ markup, legature di valore, legature di portamento, e dinamica: @lilypond[quote,ragged-right,verbatim] \relative c'{ % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1048,7 +1048,7 @@ sì che sia possibile disegnare una legatura di frase sopra di esse. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1079,7 +1079,7 @@ di scrivere lo spartito: \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1109,7 +1109,7 @@ come nel seguente esempio: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1241,7 +1241,7 @@ invece che come musica. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -2919,15 +2919,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/it/learning/tweaks.itely b/Documentation/it/learning/tweaks.itely index da114bf58e..8c1b640897 100644 --- a/Documentation/it/learning/tweaks.itely +++ b/Documentation/it/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node Modifica dell'output @chapter Modifica dell'output @@ -3221,12 +3221,12 @@ con le legature di valore: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3246,7 +3246,7 @@ centrale a, per esempio, 1: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3254,7 +3254,7 @@ centrale a, per esempio, 1: } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3445,7 +3445,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuazione della voce principale \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3503,7 +3503,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuazione della voce principale \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3575,7 +3575,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuazione della voce principale \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3657,7 +3657,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuazione della voce principale \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3896,7 +3896,7 @@ stessa voce possono essere unite da una legatura di valore. Se si usano due voci con le note legate in una voce @lilypond[quote,fragment,relative=2] -<< { b8~ b\noBeam } \\ { b8[ g] } >> +<< { b8~ 8\noBeam } \\ { b8[ g] } >> @end lilypond @noindent @@ -3911,7 +3911,7 @@ attraversare le voci: << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3927,7 +3927,7 @@ possiamo allungarlo impostando la proprietà { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3951,7 +3951,7 @@ in questo modo \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/it/notation/pitches.itely b/Documentation/it/notation/pitches.itely index 822968c660..bb3566adb0 100644 --- a/Documentation/it/notation/pitches.itely +++ b/Documentation/it/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -411,7 +411,7 @@ Se una nota è prolungata attraverso una legatura di valore, l'alterazione viene ripetuta solo all'inizio di un nuovo sistema: @lilypond[verbatim,quote,relative=2,ragged-right] -cis1~ cis~ +cis1~ 1~ \break cis @end lilypond @@ -3082,8 +3082,8 @@ indicato. Si possono creare queste teste: e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/it/notation/rhythms.itely b/Documentation/it/notation/rhythms.itely index cf64c68f14..f4599a6a08 100644 --- a/Documentation/it/notation/rhythms.itely +++ b/Documentation/it/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -433,7 +433,7 @@ alla prima di ogni coppia di note legate. Esso indica che la nota deve essere legata alla nota successiva, che deve essere della stessa altezza. @lilypond[quote,verbatim,relative=2] -a2~ a4~ a16 r r8 +a2~ 4~ 16 r r8 @end lilypond Le legature di valore si usano per unire due note a cavallo di una @@ -443,8 +443,8 @@ unire note dalle durate superiori all'unità di suddivisione della misura: @lilypond[verbatim,quote] \relative c' { - r8 c~ c2 r4 | - r8^"non" c2~ c8 r4 + r8 c~ 2 r4 | + r8^"non" c2~ 8 r4 } @end lilypond @@ -529,26 +529,26 @@ successione di tratti continui e tratti interrotti. @lilypond[quote, verbatim, relative=1] \tieDotted -c2~ c +c2~ 2 \tieDashed -c2~ c +c2~ 2 \tieHalfDashed -c2~ c +c2~ 2 \tieHalfSolid -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Si possono specificare modelli di tratteggiatura personalizzati: @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2~ c +c2~ 2 \tieDashPattern #0.7 #1.5 -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Le definizioni dei modelli di tratteggiatura delle legature di valore hanno la diff --git a/Documentation/it/notation/simultaneous.itely b/Documentation/it/notation/simultaneous.itely index 46e13fd5ea..18fbf44508 100644 --- a/Documentation/it/notation/simultaneous.itely +++ b/Documentation/it/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translators: Federico Bruni @c Translation checkers: Luca Rossetto Casel @@ -403,7 +403,7 @@ solo rigo è illustrata nell'esempio seguente: \new Voice = "prima" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "seconda" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -479,7 +479,7 @@ Il primo esempio potrebbe essere riscritto nel modo seguente: << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1128,12 +1128,12 @@ devono avere la stessa durata.} \parallelMusic #'(voiceA voiceB voiceC) { % Battuta 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Battuta 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1152,12 +1152,12 @@ parole, le note relative di @code{voiceA} ignorano le note in @code{voiceB}. \parallelMusic #'(voiceA voiceB voiceC) { % Battuta 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Battuta 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/it/notation/staff.itely b/Documentation/it/notation/staff.itely index 9c0dd658f2..5a299a8141 100644 --- a/Documentation/it/notation/staff.itely +++ b/Documentation/it/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Federico Bruni @c Translation checkers: @@ -1045,7 +1045,7 @@ dell'espressione musicale, : R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/ja/learning/common-notation.itely b/Documentation/ja/learning/common-notation.itely index 989f0443cd..6e58b30222 100644 --- a/Documentation/ja/learning/common-notation.itely +++ b/Documentation/ja/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: (different from policy.txt!) @@ -256,7 +256,7 @@ aes4 c b c ä»˜åŠ ã™ã‚‹ã“ã¨ã«ã‚ˆã£ã¦ä½œæˆã•ã‚Œã¾ã™ã€‚ @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 | +g4~ 4 c2~ | 4~ 8 a~ 2 | @end lilypond @@ -301,7 +301,7 @@ g4\( g8( a) b( c) b4\) スラーã¨ã‚¿ã‚¤ã¯ãƒã‚¹ãƒˆã•ã›ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @seealso @@ -941,7 +941,7 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã @lilypond[verbatim,quote,relative=2] << - { a4 g2 f4~ f4 } \\ + { a4 g2 f4~ 4 } \\ { r4 g4 f2 f4 } >> @end lilypond @@ -954,7 +954,7 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã @lilypond[verbatim,quote,relative=2] << - { a4 g2 f4~ f4 } \\ + { a4 g2 f4~ 4 } \\ { s4 g4 f2 f4 } >> @end lilypond @@ -965,13 +965,13 @@ LilyPond ã§ã®å¤šå£°éŸ³æ¥½ã¯ã¾ã 説明ã—ã¦ã„ãªã„コンセプトを用ã @lilypond[verbatim,quote,relative=2] << \new Staff << - { a4 g2 f4~ f4 } \\ + { a4 g2 f4~ 4 } \\ { s4 g4 f2 f4 } >> \new Staff << \clef bass { <c g>1 ~ <c g>4 } \\ - { e,,4 d e2 ~ e4} + { e,,4 d e2 ~ 4} >> >> @end lilypond @@ -1215,7 +1215,7 @@ song.ly:12:46: warning: barcheck failed at: 3/8 \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1246,7 +1246,7 @@ song.ly:12:46: warning: barcheck failed at: 3/8 \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/ja/learning/fundamental.itely b/Documentation/ja/learning/fundamental.itely index 5122a524b8..975505a86f 100644 --- a/Documentation/ja/learning/fundamental.itely +++ b/Documentation/ja/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -744,7 +744,7 @@ LilyPond ã®æ¥½èœã®ä¸ã§æœ€ã‚‚低レベルã§ã€æœ€ã‚‚基礎的ã§ã‚ã‚Šã€æœ c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8 ~ } >> | - << { d2 e2 } \\ { c8 b16 a b8 g ~ g2 } \\ { s4 b4 c2 } >> | + << { d2 e2 } \\ { c8 b16 a b8 g ~ 2 } \\ { s4 b4 c2 } >> | } @end lilypond @@ -783,7 +783,7 @@ LilyPond ã®æ¥½èœã®ä¸ã§æœ€ã‚‚低レベルã§ã€æœ€ã‚‚基礎的ã§ã‚ã‚Šã€æœ { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1061,25 +1061,25 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1108,7 +1108,7 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1135,7 +1135,7 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1165,7 +1165,7 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1301,7 +1301,7 @@ LilyPond ãŒãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ä½¿ç”¨ã™ã‚‹è‡ªå‹•é€£æ¡ã¯æ¥½å™¨ã ã‘ã®éŸ³æ¥½ã global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -3019,15 +3019,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/ja/learning/tweaks.itely b/Documentation/ja/learning/tweaks.itely index ff31215f2d..d6a5117a92 100644 --- a/Documentation/ja/learning/tweaks.itely +++ b/Documentation/ja/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -3100,12 +3100,12 @@ a8 \( ( a'16 ) a \) { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3123,7 +3123,7 @@ a8 \( ( a'16 ) a \) { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3131,7 +3131,7 @@ a8 \( ( a'16 ) a \) } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3327,7 +3327,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % メイン ボイスã®ç¶šã \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3388,7 +3388,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % メイン ボイスã®ç¶šã \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3466,7 +3466,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % メイン ボイスã®ç¶šã \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3550,7 +3550,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % メイン ボイスã®ç¶šã \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3794,7 +3794,7 @@ lhMusic = \relative c' { 2 ã¤ã®ãƒœã‚¤ã‚¹ã‚’使ã„ã€ãã®ã†ã¡ã® 1 ã¤ã«ã‚¿ã‚¤ã§çµã‚“ã 音符を置ãã¾ã™: @lilypond[quote,fragment,relative=2] -<< { b8~ b\noBeam } \\ { b8[ g] } >> +<< { b8~ 8\noBeam } \\ { b8[ g] } >> @end lilypond @noindent @@ -3808,7 +3808,7 @@ lhMusic = \relative c' { << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3823,7 +3823,7 @@ lhMusic = \relative c' { { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3846,7 +3846,7 @@ lhMusic = \relative c' { \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/ja/notation/changing-defaults.itely b/Documentation/ja/notation/changing-defaults.itely index 8d3c5b837c..0947eebd0a 100644 --- a/Documentation/ja/notation/changing-defaults.itely +++ b/Documentation/ja/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -4274,7 +4274,7 @@ Web ã§ãƒ™ã‚¸ã‚¨æ›²ç·šãŒæã‹ã‚Œã‚‹æ§˜åを示ã™ã‚¢ãƒ‹ãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’@c @lilypond[verbatim,quote,relative=1] << - { e1 ~ e } + { e1 ~ 1 } \\ { r4 <g c,> <g c,> <g c,> } >> @@ -4316,7 +4316,7 @@ Web ã§ãƒ™ã‚¸ã‚¨æ›²ç·šãŒæã‹ã‚Œã‚‹æ§˜åを示ã™ã‚¢ãƒ‹ãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’@c << { \shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie - e1~ e + e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } diff --git a/Documentation/ja/notation/fretted-strings.itely b/Documentation/ja/notation/fretted-strings.itely index 016491cf3e..b4df2c0fa7 100644 --- a/Documentation/ja/notation/fretted-strings.itely +++ b/Documentation/ja/notation/fretted-strings.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -184,7 +184,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -210,7 +210,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -279,7 +279,7 @@ symbols = { @lilypond[quote,verbatim] guitar = \relative c' { - r8 <gis-2 cis-3 b-0>~ q4 q8~ q q4 + r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } \new StaffGroup << @@ -300,7 +300,7 @@ guitar = \relative c' { ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ + 2 g2~ } \alternative { { g4 f2. } @@ -340,7 +340,7 @@ ties = \relative c' { ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ } + 2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } diff --git a/Documentation/ja/notation/input.itely b/Documentation/ja/notation/input.itely index 162e1e550f..6ed135dd7a 100644 --- a/Documentation/ja/notation/input.itely +++ b/Documentation/ja/notation/input.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.15" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @@ -2961,8 +2961,8 @@ midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3012,8 +3012,8 @@ MIDI 出力ã®å“質を著ã—ã高ã‚ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3081,8 +3081,8 @@ MIDI 最å°/最大ボリュームプãƒãƒ‘ティãŒè¨å®šã•ã‚Œã¦ã„ãªã„å ´å \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis ~ - fis4 g8 fis e2 ~ - e4 d8 cis d2 + 4 g8 fis e2 ~ + 4 d8 cis d2 } } \new Staff { diff --git a/Documentation/ja/notation/percussion.itely b/Documentation/ja/notation/percussion.itely index 9968a12829..b308244015 100644 --- a/Documentation/ja/notation/percussion.itely +++ b/Documentation/ja/notation/percussion.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -523,7 +523,7 @@ bellstaff = { \drummode { \time 2/4 rb8 rb cb cb16 rb-> ~ | - rb16 rb8 rb16 cb8 cb | + 16 rb8 rb16 cb8 cb | } } @end lilypond diff --git a/Documentation/ja/notation/pitches.itely b/Documentation/ja/notation/pitches.itely index eb6713859b..5e64e0153d 100644 --- a/Documentation/ja/notation/pitches.itely +++ b/Documentation/ja/notation/pitches.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -390,7 +390,7 @@ cis cis cis! cis? c c c! c? æ–°ã—ã„システム(訳者: èœ 1 行分ã®ã“ã¨) ã®é–‹å§‹ç‚¹ã§ã®ã¿èœåˆ»ã•ã‚Œã¾ã™: @lilypond[verbatim,quote,relative=2] -cis1 ~ cis ~ +cis1 ~ 1 ~ \break cis @end lilypond @@ -3081,8 +3081,8 @@ a2 b c d \break e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/ja/notation/rhythms.itely b/Documentation/ja/notation/rhythms.itely index fdffd7a251..7317cd0ef6 100644 --- a/Documentation/ja/notation/rhythms.itely +++ b/Documentation/ja/notation/rhythms.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -408,7 +408,7 @@ b16*4 c4 タイã¯ãƒãƒ«ãƒ‰è¨˜å· @code{~} を使ã£ã¦å…¥åŠ›ã—ã¾ã™: @lilypond[quote,verbatim,relative=2] -a2 ~ a +a2 ~ 2 @end lilypond タイã¯ã€éŸ³ç¬¦ãŒå°ç¯€ç·šã‚’ã¾ãŸãŒã‚‹å ´åˆã‹ã€ãƒªã‚ºãƒ を表ã™ãŸã‚ã«ãƒ‰ãƒƒãƒˆã‚’@c @@ -421,8 +421,8 @@ a2 ~ a @c KEEP LY @lilypond[verbatim,quote] \relative c' { - r8 c8 ~ c2 r4 | - r8^"ã“ã†ã™ã¹ãã§ã¯ã‚ã‚Šã¾ã›ã‚“" c2 ~ c8 r4 + r8 c8 ~ 2 r4 | + r8^"ã“ã†ã™ã¹ãã§ã¯ã‚ã‚Šã¾ã›ã‚“" c2 ~ 8 r4 } @end lilypond @@ -508,26 +508,26 @@ L.v. タイã¯ä»¥ä¸‹ã®ã‚ˆã†ã«å…¥åŠ›ã—ã¾ã™: @lilypond[quote, verbatim, relative=1] \tieDotted -c2 ~ c +c2 ~ 2 \tieDashed -c2 ~ c +c2 ~ 2 \tieHalfDashed -c2 ~ c +c2 ~ 2 \tieHalfSolid -c2 ~ c +c2 ~ 2 \tieSolid -c2 ~ c +c2 ~ 2 @end lilypond ç ´ç·šãƒ‘ã‚¿ãƒ¼ãƒ³ã®ã‚«ã‚¹ã‚¿ãƒžã‚¤ã‚ºã‚’指定ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2 ~ c +c2 ~ 2 \tieDashPattern #0.7 #1.5 -c2 ~ c +c2 ~ 2 \tieSolid -c2 ~ c +c2 ~ 2 @end lilypond タイã®ç ´ç·šãƒ‘ターン定義ã®æ§‹é€ ã¯ã€ã‚¹ãƒ©ãƒ¼ã®ç ´ç·šãƒ‘ターン定義ã¨åŒã˜ã§ã™ã€‚@c diff --git a/Documentation/ja/notation/simultaneous.itely b/Documentation/ja/notation/simultaneous.itely index b88b36a319..3c673471c5 100644 --- a/Documentation/ja/notation/simultaneous.itely +++ b/Documentation/ja/notation/simultaneous.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @@ -409,7 +409,7 @@ warning: ignoring too many clashing note columns \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -486,7 +486,7 @@ warning: ignoring too many clashing note columns << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1129,12 +1129,12 @@ instrumentTwo = \relative c' { \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1154,12 +1154,12 @@ instrumentTwo = \relative c' { \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/ja/notation/staff.itely b/Documentation/ja/notation/staff.itely index 7f048afa84..4b181ae65b 100644 --- a/Documentation/ja/notation/staff.itely +++ b/Documentation/ja/notation/staff.itely @@ -6,7 +6,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @@ -1043,7 +1043,7 @@ d4 e f g R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/ja/notation/vocal.itely b/Documentation/ja/notation/vocal.itely index 0878902eb9..bb6a93e570 100644 --- a/Documentation/ja/notation/vocal.itely +++ b/Documentation/ja/notation/vocal.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @c Translators: Yoshiki Sawada @c Translation status: post-GDP @@ -655,8 +655,8 @@ \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ @@ -755,7 +755,7 @@ \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4 ~ f + g8 [ f ] f4 ~ 4 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son @@ -783,7 +783,7 @@ \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] ~ f4 ~ f + g8 [ f ] ~ 4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely index 8c833c76f5..7b07c8e959 100644 --- a/Documentation/learning/common-notation.itely +++ b/Documentation/learning/common-notation.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: (different from policy.txt!) @@ -281,7 +281,7 @@ A @notation{tie} is created by appending a tilde @code{~} to the first note being tied. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 | +g4~ 4 c2~ | 4~ 8 a~ 2 | @end lilypond @node Slurs @@ -330,7 +330,7 @@ indicate the @notation{articulation} of notes, and can be used on larger groups of notes. Slurs and ties can be nested. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1194,7 +1194,7 @@ Here's an example from Rossini's @notation{Figaro}, where \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1224,7 +1224,7 @@ example from Handel's @notation{Judas Maccabæus}: \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely index 45e68320a5..60e67ee135 100644 --- a/Documentation/learning/fundamental.itely +++ b/Documentation/learning/fundamental.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.29" +@c \version "2.19.2" @node Fundamental concepts @chapter Fundamental concepts @@ -683,7 +683,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -721,7 +721,7 @@ blue triangle voice. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1004,25 +1004,25 @@ markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1050,7 +1050,7 @@ permitting a phrasing slur to be drawn over them. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1081,7 +1081,7 @@ typeset the music: \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1112,7 +1112,7 @@ as here: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1249,7 +1249,7 @@ rather than music. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -2922,15 +2922,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/learning/tweaks.itely b/Documentation/learning/tweaks.itely index 7d428a57a8..8001c5f2f6 100644 --- a/Documentation/learning/tweaks.itely +++ b/Documentation/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node Tweaking output @chapter Tweaking output @@ -3150,12 +3150,12 @@ collide with the ties: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3174,7 +3174,7 @@ say, 1: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -3182,7 +3182,7 @@ say, 1: } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3371,7 +3371,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3428,7 +3428,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3500,7 +3500,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3581,7 +3581,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3815,7 +3815,7 @@ same voice can be connected with ties. By using two voices, with the tied notes in one of them @lilypond[quote,fragment,relative=2] -<< { b8~ b\noBeam } \\ { b8[ g] } >> +<< { b8~ 8\noBeam } \\ { b8[ g] } >> @end lilypond @noindent @@ -3829,7 +3829,7 @@ cross voices: << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3845,7 +3845,7 @@ too much, we can lengthen the stem by setting the { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3867,7 +3867,7 @@ possible to rewrite the above example as \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/ly-examples/aucun-snippet.ly b/Documentation/ly-examples/aucun-snippet.ly index 4ee9f6fd21..23e89447aa 100644 --- a/Documentation/ly-examples/aucun-snippet.ly +++ b/Documentation/ly-examples/aucun-snippet.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" \include "example-header.ily" \paper { @@ -188,7 +188,7 @@ triplumNotes = \relative c' { % the \scaleDurations command below makes 5 notes last the % duration of a dotted quarter e8 c4 \scaleDurations 3/2 { \tuplet 5/4{e16[ d e d e]} } e8 f4 | % 2 - g2. ~ g4. | % 3 + g2. ~ 4. | % 3 f8 d4 f4. \scaleDurations 3/2 { \tuplet 6/4{ g16[ f e f e f]}} % 4 g8 g4 g4. e4. | % 5 fis8 d4 e8\startGroup g4\stopGroup f8[ e d] | % 6 @@ -205,7 +205,7 @@ motetusNotes = \relative c' { c2. c8\startGroup b8 \slash c\stopGroup | % 1 a2. c4. | d2. e4. | % 2-3 f2. f8 e d | % 4 - c2. ~ c4. | r2. r4. | % 5-6 + c2. ~ 4. | r2. r4. | % 5-6 g'4. g g8 f e | % 7 } diff --git a/Documentation/ly-examples/bach-bwv610.ly b/Documentation/ly-examples/bach-bwv610.ly index 863c8594e6..c50f6ab342 100644 --- a/Documentation/ly-examples/bach-bwv610.ly +++ b/Documentation/ly-examples/bach-bwv610.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" %\include "example-header.ily" @@ -99,22 +99,22 @@ alt = { \global \halsdown \repeat volta 2 { - es16 d es8~ es16 f es d c8 d~ d c + es16 d es8~ 16 f es d c8 d~ d c c8 c4 h8 c8. \staffdown g16 \staffup c h c d - es16 d es8~ es16 f es d c8 d16 es f as g f~ - f16 e f8~ f16 g f es d es d8~ d16 es f d + es16 d es8~ 16 f es d c8 d16 es f as g f~ + 16 e f8~ 16 g f es d es d8~ 16 es f d %% Takt 5 ============================================== g8 f es16 g as es f es f d g as g f - e8 f16 g as g as e f g f8~ f16 f es d + e8 f16 g as g as e f g f8~ 16 f es d } - es16 d es8~ es16 f es des c8 \staffdown b~ b16 b c g - as16 g as f b c b as g f g8~ g16 b \staffup c d - es16 d es8~ es16 f es d c8 d16 es f as g f + es16 d es8~ 16 f es des c8 \staffdown b~ 16 b c g + as16 g as f b c b as g f g8~ 16 b \staffup c d + es16 d es8~ 16 f es d c8 d16 es f as g f %% Takt 10 ============================================= es16 d es8 d g~g g4 fis8 g16 d es c \staffdown d h c a h a h c d h g h - c16 h c \staffup d es d es8~ es d4 c8~ - c16 h c8~ c h c16 \staffdown g as8 g4\fermata + c16 h c \staffup d es d es8~ 8 d4 c8~ + 16 h c8~ 8 h c16 \staffdown g as8 g4\fermata } } @@ -122,22 +122,22 @@ tenor = { \new Voice \relative c' { \global \repeat volta 2 { - c16 h c8~ c16 h c g a8 g~ g16 g as es - f16 es f d g as g f es d \tieDown es8~ es16 \tieNeutral f es d + c16 h c8~ 16 h c g a8 g~ 16 g as es + f16 es f d g as g f es d \tieDown es8~ 16 \tieNeutral f es d c16 h c g' c h c c, f8. g16 as!4~ - as16 g as b c h c8 d8. c16 h c d h + 16 g as b c h c8 d8. c16 h c d h %% Takt 5 ============================================== - es16 d es d~ d8 c~c c4 h8 - c4~ c8. b16 as b as8 g16 as g f + es16 d es d~ 8 c~c c4 h8 + c4~ 8. b16 as b as8 g16 as g f } - \halsdown es16 f g as b des c b as g f8~ f es + \halsdown es16 f g as b des c b as g f8~ 8 es es8 es4 d8 es8. b16 es d es f - es16 f g8 c16 d c b a g f8~ f4 + es16 f g8 c16 d c b a g f8~ 4 %% Takt 10 ============================================= g16 fis g a b a b g c b c a d es d c h8 c16 a h g a fis g8 d16 es f es f8~ - f16 d es h c h c8 r16 f g d es g as fis - g16 d f! es f as g f e8. f16~ f d e8\fermata + 16 d es h c h c8 r16 f g d es g as fis + g16 d f! es f as g f e8. f16~ 16 d e8\fermata } } @@ -161,18 +161,18 @@ pedal = { \clef "bass" \relative c { \repeat volta 2 { - r8 c16 d es d es8~ es16 a, h g c h c8 + r8 c16 d es d es8~ 16 a, h g c h c8 r16 g as f g f g8 c,2 - r8 c'16 d es d es8~ es16 c f es d c d8 - c8 f16 g as g as8~ as16 d, fis d g fis g8 + r8 c'16 d es d es8~ 16 c f es d c d8 + c8 f16 g as g as8~ 16 d, fis d g fis g8 %% Takt 5 ============================================== r8 a16 h c h c8 r16 g as f g f g8 r16 g as e f e f8 r16 e f h, c h c8 } - r8 es16 f g f g8~ g16 c, d! b es d es8 + r8 es16 f g f g8~ 16 c, d! b es d es8 r16 b c as b as b8 es,2 - r8 c'16 d es d es8~ es16 c f es d c d8 + r8 c'16 d es d es8~ 16 c f es d c d8 %% Takt 10 ============================================= c8 es16 f! g fis g8 r16 d es c d c d8 g,1 diff --git a/Documentation/ly-examples/sesto.ily b/Documentation/ly-examples/sesto.ily index e2c4d9e88d..8ab9e4b990 100644 --- a/Documentation/ly-examples/sesto.ily +++ b/Documentation/ly-examples/sesto.ily @@ -4,7 +4,7 @@ %%% %%% Nicolas Sceaux <nicolas.sceaux@free.fr> -\version "2.16.0" +\version "2.19.2" \header { title = "Giulio Cesare in Egitto" subtitle = "Sesto: Svegliatevi nel core, furie d'un alma offesa (excerpt)" @@ -19,7 +19,7 @@ sesto = { R1*6 | r4 r8 g' c'' ees''16[ d''] c''8 c'' | - c'' g' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' g' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r c'' c'' b'16[ c''] d''8 g' | %{ @@ -39,12 +39,12 @@ sesto = { c'' c'' r c'' f' f''16[ ees''] d''8 c'' | b'16[ a'] g'8 r4 ees''8 ees''16 d'' c''8 bes' | aes' g' r g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'4 r8 d'' ees'' d''16[ c''] b'4 | %%25 c'' r8 g' c'' g' ees' g' | c'4 r8 g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'4 r8 g'' ees'' d''16[ c''] b'4 | c''2 r | %%30 @@ -77,14 +77,14 @@ sestoLyrics = \lyricmode { violinoI = { r4 r8 g' c'' ees''16 d'' c''8 c'' | - c'' c' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' c' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r c'' c''8.^\trill b'32 c'' d''8 g' | f'4. d''8 ees'' d''16 c'' b'4 | %%5 c''16 g'' f'' g'' ees'' g'' f'' g'' ees'' g'' f'' g'' ees'' g'' f'' g'' | c'' g'' f'' g'' ees'' g'' f'' g'' aes''8 g''16 f'' f''4^\trill | ees'' r8 g'_\p c'' ees''16 d'' c''8 c'' | - c'' g' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' g' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r c'' c'' b'16 c'' d''8 g' | %{ %%10 @@ -103,18 +103,18 @@ violinoI = { c'' ees'' ees'' f'' g'' ees'' f'' g'' aes'' f'' g'' ees'' f'' d'' ees'' c'' | \tag #'violin { g'' g' g'' g'' } \tag #'reduction { g'' d'' g'' g'' } g'' b' g'' g'' g'' f'' ees'' d'' c''8 bes' | aes' g' r g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'16 c' g' ees' c'' g' g'' d'' g'4 r | %%25 c'''16 ees''' d''' ees''' c''' ees''' d''' ees''' g'' c''' b'' c''' g'' c''' b'' c''' | ees'' g'' f'' g'' ees'' g'' f'' g'' \tag #'violin { aes'8 f' } \tag #'reduction { c''8 aes' } d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'4^\fermata r r2 | r4 r8 c'_\f c'' ees''16 d'' c''8 c'' | %%30 - c'' c' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' c' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | c''16 g'' f'' g'' ees'' g'' f'' g'' c'' g'' f'' g'' ees'' g'' f'' g'' | b'8 c''16 d'' ees''8 d'' c''4^\fermata r %} @@ -122,14 +122,14 @@ violinoI = { violinoII = { r4 r8 g' c'' ees''16 d'' c''8 c'' | - c'' c' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' c' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r c'' c''8.^\trill b'32 c'' d''8 g' | f'4. d''8 ees'' d''16 c'' b'4 | %%5 c''16 ees'' d'' ees'' c'' ees'' d'' ees'' c'' ees'' d'' ees'' c'' ees'' d'' ees'' | c'' ees'' d'' ees'' c'' ees'' d'' ees'' d''8[ ees''] ees'' d'' | ees''4 r8 g' c'' ees''16 d'' c''8 c'' | - c'' g' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' g' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r c'' c'' b'16 c'' d''8 g' | %{ %%10 @@ -148,18 +148,18 @@ violinoII = { aes' c'' c'' d'' ees'' c'' d'' ees'' f'' d'' ees'' c'' d'' b' c'' a' | \tag #'violin { b' d' d' b' } \tag #'reduction { b' g' d'' b' } b' g' b' d'' g'' f'' ees'' d'' c''8 bes' | d' ees' r g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'16 c' g' ees' c'' g' g'' d'' g'4 r | %%25 ees''16 g'' f'' g'' ees'' g'' f'' g'' ees'' ees'' d'' ees'' c'' ees'' d'' ees'' | g' ees'' d'' ees'' c'' ees'' d'' ees'' \tag #'violin { c''8 aes' } \tag #'reduction { aes'8 f' } f' d' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | ees'4^\fermata r r2 | r4 r8 c' c'' ees''16 d'' c''8 c'' | %%30 - c'' c' ees''4 ~ ees''8 d''16 ees'' f''8 aes' | + c'' c' ees''4 ~ 8 d''16 ees'' f''8 aes' | aes' g' r g' aes' f' d'' b' | - f''2 ~ f''8 d'' b' g' | + f''2 ~ 8 d'' b' g' | c''16 ees'' d'' ees'' c'' ees'' d'' ees'' c'' ees'' d'' ees'' c'' ees'' d'' ees'' | d'8 ees'16 f' g'8 b' c''4^\fermata r %} diff --git a/Documentation/ly-examples/tab-example.ly b/Documentation/ly-examples/tab-example.ly index fbccc1f558..36615cf0db 100644 --- a/Documentation/ly-examples/tab-example.ly +++ b/Documentation/ly-examples/tab-example.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" #(define (glissando::calc-extra-dy grob) (let* ((original (ly:grob-original grob)) @@ -32,7 +32,7 @@ lower= \relative c { s4 e,4 s2 s2 s8 < e'-3 >4. ~ e4 \hideNotes \grace { b8 \glissando s4 } \unHideNotes < e-2 >4\5 e,2 ~ - e2 < e'\6\harmonic > + 2 < e'\6\harmonic > } \score { diff --git a/Documentation/nl/learning/common-notation.itely b/Documentation/nl/learning/common-notation.itely index ae89bdba9c..8bb4361689 100644 --- a/Documentation/nl/learning/common-notation.itely +++ b/Documentation/nl/learning/common-notation.itely @@ -12,7 +12,7 @@ @c Translation checker: @c Translation checker committish: -@c \version "2.17.28" +@c \version "2.19.2" @ignore Tutorial guidelines: (different from policy.txt!) @@ -263,7 +263,7 @@ een tilde @code{~} aan de eerste noot die overgebonden wordt. @lilypond[verbatim,quote,relative=2] -g4~ g c2~ | c4~ c8 a~ a2 | +g4~ 4 c2~ | 4~ 8 a~ 2 | @end lilypond @subheading Legatobogen @@ -310,7 +310,7 @@ gebruikt over grotere nootgroepen. Legatobogen en overbindingen kunnen worden genest. @lilypond[verbatim,quote,relative=2] -c4~( c8 d~ d4 e) +c4~( c8 d~ 4 e) @end lilypond @@ -1217,7 +1217,7 @@ in Figaro's aria @notation{Largo al factotum}: \clef "bass" \key c \major \time 6/8 - c4.~ c8 d b | c8([ d]) b c d b | c8 + c4.~ 8 d b | c8([ d]) b c d b | c8 } \addlyrics { Lar -- go_al fac -- | to -- tum del -- la cit -- | tà @@ -1249,7 +1249,7 @@ notenbalk. Hier is een voorbeeld uit Handels \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4 + c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ diff --git a/Documentation/nl/learning/fundamental.itely b/Documentation/nl/learning/fundamental.itely index c68c506cf2..a129a464ff 100644 --- a/Documentation/nl/learning/fundamental.itely +++ b/Documentation/nl/learning/fundamental.itely @@ -12,7 +12,7 @@ @c Translation checker: @c Translation checker committish: -@c \version "2.17.29" +@c \version "2.19.2" @node Fundamentele concepten @translationof Fundamental concepts @@ -709,7 +709,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately. c16 d e f % Voice "1" Voice "2" Voice "3" << { g4 f e } \\ { r8 e4 d c8~ } >> | - << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> | + << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> | } @end lilypond @@ -747,7 +747,7 @@ blue triangle voice. { d2 e } \\ % Voice 2 continues - { c8 b16 a b8 g~ g2 } + { c8 b16 a b8 g~ 2 } \\ { \voiceThreeStyle @@ -1030,25 +1030,25 @@ markup, ties, slurs, and dynamics: @lilypond[quote,ragged-right,verbatim] \relative c' { % Default behavior or behavior after \oneVoice - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceOne - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] \relative c' { \voiceTwo - c4 d8~ d e4( f | g4 a) b-> c | + c4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice - c,4 d8~ d e4( f | g4 a) b-> c | + c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @@ -1076,7 +1076,7 @@ permitting a phrasing slur to be drawn over them. \new Voice { % Set stems, etc., down \voiceTwo - r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1107,7 +1107,7 @@ typeset the music: \voiceTwo r8 e4 d c8~ | << - { c8 b16 a b8 g~ g2 | } + { c8 b16 a b8 g~ 2 | } \new Voice { \voiceThree s4 b c2 | @@ -1138,7 +1138,7 @@ as here: \new Voice { % Set stems, etc, down \voiceTwo - s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 | + s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 | } % Initiate third voice \new Voice { @@ -1271,7 +1271,7 @@ rather than music. global = { \key f \major \time 6/8 \partial 8 } SopOneMusic = \relative c'' { - c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 + c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4 } SopOneLyrics = \lyricmode { Let | flee -- cy flocks the | hills a -- dorn, __ @@ -2936,15 +2936,15 @@ ManualOneVoiceOneMusic = \relative g' { d2 c | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees d c8 d~ d c~ | - c8 c4 b8 c8. g16 c b c d | + ees16 d ees8~ 16 f ees d c8 d~ d c~ | + 8 c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { - c16 b c8~ c16 b c g a8 g~ g16 g aes ees | - f16 ees f d g aes g f ees d ees8~ ees16 f ees d | + c16 b c8~ 16 b c g a8 g~ 16 g aes ees | + f16 ees f d g aes g f ees d ees8~ 16 f ees d | } PedalOrganMusic = \relative c { - r8 c16 d ees d ees8~ ees16 a, b g c b c8 | + r8 c16 d ees d ees8~ 16 a, b g c b c8 | r16 g ees f g f g8 c,2 | } diff --git a/Documentation/nl/learning/tweaks.itely b/Documentation/nl/learning/tweaks.itely index 80881daf55..9abaa16d9b 100644 --- a/Documentation/nl/learning/tweaks.itely +++ b/Documentation/nl/learning/tweaks.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.20" +@c \version "2.19.2" @node Tweaking output @chapter Tweaking output @@ -2922,12 +2922,12 @@ collide with the ties: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -2946,7 +2946,7 @@ say, 1: { \time 4/2 << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { \override Beam.positions = #'(-1 . -1) @@ -2954,7 +2954,7 @@ say, 1: } >> << - { c'1 ~ c'2. e'8 f' } + { c'1 ~ 2. e'8 f' } \\ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' } >> @@ -3143,7 +3143,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3200,7 +3200,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3272,7 +3272,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3353,7 +3353,7 @@ rhMusic = \relative c'' { { c,8 d fis bes a } % continuation of main voice \new Voice { \voiceTwo - c,8~ c2 + c,8~ 2 } \new Voice { \voiceThree @@ -3587,7 +3587,7 @@ same voice can be connected with ties. By using two voices, with the tied notes in one of them @lilypond[quote,fragment,relative=2] -<< { b8~ b\noBeam } \\ { b8[ g] } >> +<< { b8~ 8\noBeam } \\ { b8[ g] } >> @end lilypond @noindent @@ -3601,7 +3601,7 @@ cross voices: << { \tweak Stem.transparent ##t - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3617,7 +3617,7 @@ too much, we can lengthen the stem by setting the { \tweak Stem.transparent ##t \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } @@ -3639,7 +3639,7 @@ possible to rewrite the above example as \single \hide Stem \single \hide Flag \tweak Stem.length #8 - b8~ b\noBeam + b8~ 8\noBeam } \\ { b8[ g] } diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely index 39928b6061..dd6e72cadc 100644 --- a/Documentation/notation/changing-defaults.itely +++ b/Documentation/notation/changing-defaults.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Changing defaults @chapter Changing defaults @@ -4202,7 +4202,7 @@ and @code{\tieDown} would not help. @lilypond[verbatim,quote,relative=1] << - { e1~ e } + { e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } >> @@ -4244,7 +4244,7 @@ form of @code{\shape}, this will raise the tie by half a staff-space: << { \shape #'((0 . 0.5) (0 . 0.5) (0 . 0.5) (0 . 0.5)) Tie - e1~ e + e1~ 1 } \\ { r4 <g c,> <g c,> <g c,> } diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely index 121dfc0580..235ab93158 100644 --- a/Documentation/notation/fretted-strings.itely +++ b/Documentation/notation/fretted-strings.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Fretted string instruments @section Fretted string instruments @@ -180,7 +180,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -206,7 +206,7 @@ symbols = { c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default - c8_.\<\( c16 c~ c2\! + c8_.\<\( c16 c~ 2\! c'2.\prall\) } @@ -274,7 +274,7 @@ as @code{\tabChordRepeats}. @lilypond[quote,verbatim] guitar = \relative c' { - r8 <gis-2 cis-3 b-0>~ q4 q8~ q q4 + r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4 } \new StaffGroup << @@ -295,7 +295,7 @@ the second alternative of a repeat. ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ + 2 g2~ } \alternative { { g4 f2. } @@ -335,7 +335,7 @@ engraving fret numbers in parentheses: ties = \relative c' { \repeat volta 2 { e2. f4~ - f2 g2~ } + 2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely index 315660b68d..f795b41fec 100644 --- a/Documentation/notation/input.itely +++ b/Documentation/notation/input.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @node General input and output @chapter General input and output @@ -3057,8 +3057,8 @@ volume is limited to the range 0.2 - 0.5. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3114,8 +3114,8 @@ volume of the flute. \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { @@ -3188,8 +3188,8 @@ the same values as the previous example. \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ - fis4 g8 fis e2~ - e4 d8 cis d2 + 4 g8 fis e2~ + 4 d8 cis d2 } } \new Staff { diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 4c41302c4f..420fcb4c50 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @node Pitches @@ -405,7 +405,7 @@ Accidentals on tied notes are only printed at the beginning of a new system: @lilypond[verbatim,quote,relative=2,ragged-right] -cis1~ cis~ +cis1~ 1~ \break cis @end lilypond @@ -3072,8 +3072,8 @@ rhythm. Such note heads can be created: e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e } diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index 048d3a58d7..23edfab7c7 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.0" +@c \version "2.19.2" @node Rhythms @section Rhythms @@ -431,7 +431,7 @@ of each pair of notes being tied. This indicates that the note should be tied to the following note, which must be at the same pitch. @lilypond[quote,verbatim,relative=2] -a2~ a4~ a16 r r8 +a2~ 4~ 16 r r8 @end lilypond Ties can make use of the @q{last explicit pitch} interpretation of @@ -447,8 +447,8 @@ used when note values cross larger subdivisions of the measure: @lilypond[verbatim,quote] \relative c' { - r8 c~ c2 r4 | - r8^"not" c2~ c8 r4 + r8 c~ 2 r4 | + r8^"not" c2~ 8 r4 } @end lilypond @@ -536,26 +536,26 @@ dashed. @lilypond[quote, verbatim, relative=1] \tieDotted -c2~ c +c2~ 2 \tieDashed -c2~ c +c2~ 2 \tieHalfDashed -c2~ c +c2~ 2 \tieHalfSolid -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Custom dash patterns can be specified: @lilypond[quote, verbatim, relative=1] \tieDashPattern #0.3 #0.75 -c2~ c +c2~ 2 \tieDashPattern #0.7 #1.5 -c2~ c +c2~ 2 \tieSolid -c2~ c +c2~ 2 @end lilypond Dash pattern definitions for ties have the same structure as dash diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index 4725ecf0de..f9a6329dbf 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.28" +@c \version "2.19.2" @node Simultaneous notes @@ -394,7 +394,7 @@ voices in a single staff is illustrated in the following example: \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" - { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -471,7 +471,7 @@ The first example could be typeset as follows: << { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ - { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } + { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. } >> @end lilypond @@ -1111,12 +1111,12 @@ be of the same length.} \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | - r16 e'8.~ e'4 r16 e'8.~ e'4 | + r16 e'8.~ 4 r16 e'8.~ 4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | - r16 d'8.~ d'4 r16 d'8.~ d'4 | + r16 d'8.~ 4 r16 d'8.~ 4 | c'2 c'2 | } @@ -1136,12 +1136,12 @@ note in the input -- in other words, relative notes for \parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | - r16 e8.~ e4 r16 e8.~ e4 | + r16 e8.~ 4 r16 e8.~ 4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | - r16 d8.~ d4 r16 d8.~ d4 | + r16 d8.~ 4 r16 d8.~ 4 | c2 c | } diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely index e7133e3d4f..1462d0996e 100644 --- a/Documentation/notation/staff.itely +++ b/Documentation/notation/staff.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Staff notation @section Staff notation @@ -1029,7 +1029,7 @@ expression to declare the instrument switch: R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break - c,1 ~ | c1 + c,1 ~ | 1 } @end lilypond diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 17e5070043..62600cf547 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.30" +@c \version "2.19.2" @node Vocal music @section Vocal music @@ -654,8 +654,8 @@ together: \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ @@ -755,7 +755,7 @@ without their indicating melismata. To do this, set \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4 ~ f + g8 [ f ] f4 ~ 4 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son @@ -783,7 +783,7 @@ should be included in the melisma: \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] ~ f4 ~ f + g8 [ f ] ~ 4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ diff --git a/Documentation/snippets/broken-crescendo-hairpin.ly b/Documentation/snippets/broken-crescendo-hairpin.ly index 68960a5840..2e5aad44b2 100644 --- a/Documentation/snippets/broken-crescendo-hairpin.ly +++ b/Documentation/snippets/broken-crescendo-hairpin.ly @@ -5,7 +5,7 @@ % % This file is in the public domain. %% Note: this file works from version 2.17.27 -\version "2.17.27" +\version "2.19.2" \header { lsrtags = "contemporary-notation, expressive-marks, symbols-and-glyphs" @@ -44,7 +44,7 @@ draw the rectangle over the hairpin. des16_\markup \with-dimensions #'(2 . 7) #'(0 . 0) \with-color #white \filled-box #'(2 . 7) #'(0 . 2) #0 - r8. des4 ~ des16->\sff + r8. des4 ~ 16->\sff } >> } diff --git a/Documentation/snippets/changing-midi-output-to-one-channel-per-voice.ly b/Documentation/snippets/changing-midi-output-to-one-channel-per-voice.ly index aded2070cb..1cd549b742 100644 --- a/Documentation/snippets/changing-midi-output-to-one-channel-per-voice.ly +++ b/Documentation/snippets/changing-midi-output-to-one-channel-per-voice.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.16.0" +\version "2.19.2" \header { lsrtags = "contexts-and-engravers, midi, real-music" @@ -36,8 +36,8 @@ two MIDI channels are created, each with a different \time 2/2 r2 g-"Flute" ~ g fis ~ - fis4 g8 fis e2 ~ - e4 d8 cis d2 + 4 g8 fis e2 ~ + 4 d8 cis d2 } \new Voice \relative c'' { \set midiInstrument = #"clarinet" diff --git a/Documentation/snippets/figured-bass-headword.ly b/Documentation/snippets/figured-bass-headword.ly index 8b76e0204d..018a27b61c 100644 --- a/Documentation/snippets/figured-bass-headword.ly +++ b/Documentation/snippets/figured-bass-headword.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.6" +\version "2.19.2" \header { lsrtags = "headword" @@ -78,7 +78,7 @@ extendOff = \bassFigureExtendersOff r16 d16 | d4 bes,4 a,4 f4 | g8 f16 g16 a8 a,8 d4 d'4 ~ | - d'8 c'8 b4 c'8 c'16 bes16 a4 | + 8 c'8 b4 c'8 c'16 bes16 a4 | bes8 bes16 a16 g4 a8 a,4 a16 g16 | fis8 d8 e8 fis8 g8 g,4 g16 f16 | e8 c8 d8 e8 f8 f,4 a,8 | diff --git a/Documentation/snippets/hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly b/Documentation/snippets/hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly index 1c3c4ea4ea..7cb8869e0a 100644 --- a/Documentation/snippets/hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly +++ b/Documentation/snippets/hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.6" +\version "2.19.2" \header { lsrtags = "pitches" @@ -19,7 +19,7 @@ system. \relative c'' { \override Accidental.hide-tied-accidental-after-break = ##t - cis1~ cis~ + cis1~ 1~ \break cis } diff --git a/Documentation/snippets/how-to-change-fret-diagram-position.ly b/Documentation/snippets/how-to-change-fret-diagram-position.ly index cbcd2bc9c7..da24c5a5dd 100644 --- a/Documentation/snippets/how-to-change-fret-diagram-position.ly +++ b/Documentation/snippets/how-to-change-fret-diagram-position.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.6" +\version "2.19.2" \header { lsrtags = "fretted-strings, specific-notation, tweaks-and-overrides" @@ -51,7 +51,7 @@ harmonies = \chordmode b4.~^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } b4. a8\break % HERE IS THE SECOND METHOD << - { a8 b4.~ b4. a8} + { a8 b4.~ 4. a8} { s4 s4 s4^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } } >> diff --git a/Documentation/snippets/making-an-object-invisible-with-the-transparent-property.ly b/Documentation/snippets/making-an-object-invisible-with-the-transparent-property.ly index c7ad7b10a5..b1808364ba 100644 --- a/Documentation/snippets/making-an-object-invisible-with-the-transparent-property.ly +++ b/Documentation/snippets/making-an-object-invisible-with-the-transparent-property.ly @@ -5,7 +5,7 @@ % % This file is in the public domain. %% Note: this file works from version 2.17.30 -\version "2.17.30" +\version "2.19.2" \header { lsrtags = "rhythms, simultaneous-notes, tweaks-and-overrides" @@ -33,10 +33,10 @@ in that voice, the tie appears to cross voices. { \once \hide Stem \once \override Stem.length = #8 - b8 ~ b\noBeam + b8 ~ 8\noBeam \once \hide Stem \once \override Stem.length = #8 - g8 ~ g\noBeam + g8 ~ 8\noBeam } \\ { diff --git a/Documentation/snippets/new/broken-crescendo-hairpin.ly b/Documentation/snippets/new/broken-crescendo-hairpin.ly index 27df9446ad..f14c983eea 100644 --- a/Documentation/snippets/new/broken-crescendo-hairpin.ly +++ b/Documentation/snippets/new/broken-crescendo-hairpin.ly @@ -1,4 +1,4 @@ -\version "2.17.27" +\version "2.19.2" \header { lsrtags = "contemporary-notation, expressive-marks, symbols-and-glyphs" @@ -36,7 +36,7 @@ draw the rectangle over the hairpin. des16_\markup \with-dimensions #'(2 . 7) #'(0 . 0) \with-color #white \filled-box #'(2 . 7) #'(0 . 2) #0 - r8. des4 ~ des16->\sff + r8. des4 ~ 16->\sff } >> } diff --git a/Documentation/snippets/new/making-an-object-invisible-with-the-transparent-property.ly b/Documentation/snippets/new/making-an-object-invisible-with-the-transparent-property.ly index 70b3bf144e..2596aebc36 100644 --- a/Documentation/snippets/new/making-an-object-invisible-with-the-transparent-property.ly +++ b/Documentation/snippets/new/making-an-object-invisible-with-the-transparent-property.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" \header { lsrtags = "rhythms, simultaneous-notes, tweaks-and-overrides" @@ -25,10 +25,10 @@ in that voice, the tie appears to cross voices. { \once \hide Stem \once \override Stem.length = #8 - b8 ~ b\noBeam + b8 ~ 8\noBeam \once \hide Stem \once \override Stem.length = #8 - g8 ~ g\noBeam + g8 ~ 8\noBeam } \\ { diff --git a/Documentation/snippets/new/unfretted-headword.ly b/Documentation/snippets/new/unfretted-headword.ly index 5c3f8a05dc..34397fb8e2 100644 --- a/Documentation/snippets/new/unfretted-headword.ly +++ b/Documentation/snippets/new/unfretted-headword.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" \header { lsrtags = "headword" @@ -146,7 +146,7 @@ ViolinSolo = \relative c' { \time 15/4 << { \shift d2 \glissando ^\markup \colmark { \quatre \dubetc \pvib \norm } \shifta e1 \glissando d2 } \\ - { d2 \open \mf \< ~ d1 ~ d2 \ff ~ d1 \> ~ d2 ^\markup \colmark { " " " " \svib } ~ d4 \pp} + { d2 \open \mf \< ~ d1 ~ 2 \ff ~ d1 \> ~ d2 ^\markup \colmark { " " " " \svib } ~ d4 \pp} >> \break diff --git a/Documentation/snippets/rhythms-headword.ly b/Documentation/snippets/rhythms-headword.ly index b0c99b7dc4..5bf703a5d0 100644 --- a/Documentation/snippets/rhythms-headword.ly +++ b/Documentation/snippets/rhythms-headword.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.11" +\version "2.19.2" \header { lsrtags = "headword" @@ -82,7 +82,7 @@ Rhythms headword c'''32 ) \! g''8 ( ~ - g''32 [ + 32 [ a''64 g''64 ) ] diff --git a/Documentation/snippets/simultaneous-headword.ly b/Documentation/snippets/simultaneous-headword.ly index a08838f8f8..3afcc2a30f 100644 --- a/Documentation/snippets/simultaneous-headword.ly +++ b/Documentation/snippets/simultaneous-headword.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.11" +\version "2.19.2" \header { lsrtags = "headword" @@ -67,10 +67,10 @@ trillFlat = \trillFlat af''4.~ \startTrillSpan af''8.~ | - af''4.~ af''8.~ | + 4.~ 8.~ | \oneVoice <af'' d''>8.[ a''8. \p \< bf''8.]~ | - bf''8.[ b''8. c'''8.]~ + 8.[ b''8. c'''8.]~ \bar "||" \key ef \major c'''8.[ cs'''8.] \f \stopTrillSpan @@ -83,17 +83,17 @@ trillFlat = \override Voice.TrillSpanner.direction = #DOWN d''4.~ \f \startTrillSpan d''8.~ | - d''4.~ d''8.~ | - d''8. \stopTrillSpan + 4.~ 8.~ | + 8. \stopTrillSpan \trillFlat d''4.~ \startTrillSpan | - d''4.~ d''8.~ | - d''4.~ d''8.~ | - d''4.~ d''8.~ \stopTrillSpan | + d''4.~ 8.~ | + 4.~ 8.~ | + 4.~ 8.~ \stopTrillSpan | \trillFlat d''4.~ \startTrillSpan d''8. ~ | - d''4.~ d''8.~ | + 4.~ 8.~ | \once \override NoteColumn.ignore-collision = ##t \hideNotes d''8. \stopTrillSpan @@ -126,8 +126,8 @@ trillFlat = \override Voice.TrillSpanner.direction = #UP f'4.~ \startTrillSpan f'8.~ | - f'4.~ f'8.~ | - f'8. \stopTrillSpan + 4.~ 8.~ | + 8. \stopTrillSpan } \new Voice { \voiceTwo diff --git a/Documentation/snippets/single-staff-template-with-notes-and-chords.ly b/Documentation/snippets/single-staff-template-with-notes-and-chords.ly index 75272f52f7..4ba723b516 100644 --- a/Documentation/snippets/single-staff-template-with-notes-and-chords.ly +++ b/Documentation/snippets/single-staff-template-with-notes-and-chords.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.16.0" +\version "2.19.2" \header { lsrtags = "chords, really-simple, template" @@ -24,7 +24,7 @@ melody = \relative c' { \time 4/4 f4 e8[ c] d4 g - a2 ~ a + a2 ~ 2 } harmonies = \chordmode { diff --git a/Documentation/snippets/unfretted-headword.ly b/Documentation/snippets/unfretted-headword.ly index 6cc02b677d..43dbee3312 100644 --- a/Documentation/snippets/unfretted-headword.ly +++ b/Documentation/snippets/unfretted-headword.ly @@ -5,7 +5,7 @@ % % This file is in the public domain. %% Note: this file works from version 2.17.30 -\version "2.17.30" +\version "2.19.2" \header { lsrtags = "headword" @@ -154,7 +154,7 @@ ViolinSolo = \relative c' { \time 15/4 << { \shift d2 \glissando ^\markup \colmark { \quatre \dubetc \pvib \norm } \shifta e1 \glissando d2 } \\ - { d2 \open \mf \< ~ d1 ~ d2 \ff ~ d1 \> ~ d2 ^\markup \colmark { " " " " \svib } ~ d4 \pp} + { d2 \open \mf \< ~ d1 ~ 2 \ff ~ d1 \> ~ d2 ^\markup \colmark { " " " " \svib } ~ d4 \pp} >> \break diff --git a/Documentation/snippets/using-arpeggiobracket-to-make-divisi-more-visible.ly b/Documentation/snippets/using-arpeggiobracket-to-make-divisi-more-visible.ly index c316d29d93..3eacc6132b 100644 --- a/Documentation/snippets/using-arpeggiobracket-to-make-divisi-more-visible.ly +++ b/Documentation/snippets/using-arpeggiobracket-to-make-divisi-more-visible.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.16.0" +\version "2.19.2" \header { lsrtags = "expressive-marks, vocal-music" @@ -39,9 +39,9 @@ often seen in choral music. \new Voice = "lower" { \voiceTwo a1 ~ - a + 1 a ~ - a4 \bar "|." + 4 \bar "|." } >> } diff --git a/Documentation/snippets/vocal-headword.ly b/Documentation/snippets/vocal-headword.ly index d09d784396..454daf765d 100644 --- a/Documentation/snippets/vocal-headword.ly +++ b/Documentation/snippets/vocal-headword.ly @@ -4,7 +4,7 @@ %% and then run scripts/auxiliar/makelsr.py %% %% This file is in the public domain. -\version "2.17.6" +\version "2.19.2" \header { lsrtags = "headword" @@ -39,7 +39,7 @@ Vocal headword \autoBeamOff r4^\markup { \small Baritono } r a \appoggiatura a8 e'2. ~ - e4 d8[ cis d e] + 4 d8[ cis d e] e4 g, r8 g bes2 a8 e g4 f r diff --git a/input/regression/accidental-tie.ly b/input/regression/accidental-tie.ly index f69a7a8575..3929e27450 100644 --- a/input/regression/accidental-tie.ly +++ b/input/regression/accidental-tie.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" \header { texidoc = "The second and third notes should not get accidentals, @@ -16,13 +16,13 @@ mus = \relative c' { f1~ - f2~f4 % ~ f8 + 2~4 % ~ f8 fis8 gis8 ~ \break gis1 \override Accidental.hide-tied-accidental-after-break = ##t f1~ - f2~f4 % ~ f8 + 2~4 % ~ f8 fis8 gis8 ~ \break gis1 diff --git a/input/regression/beam-multiplicity-over-rests.ly b/input/regression/beam-multiplicity-over-rests.ly index b8a2b5d997..e875bb2c80 100644 --- a/input/regression/beam-multiplicity-over-rests.ly +++ b/input/regression/beam-multiplicity-over-rests.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "When a beam goes over a rest, beamlets should be as necessary @@ -8,7 +8,7 @@ \relative c' { c8[ r16 c32 c32] c32[ r16 c32 c8] - c32[ r16 c64 c64 ~ c16.. c64] + c32[ r16 c64 c64 ~ 16.. c64] c32[ c32 r16 c8] c16[ r32 c32 r16 c16] c16[ r16 c32 r32 c16] diff --git a/input/regression/completion-heads-tie.ly b/input/regression/completion-heads-tie.ly index 469305b29c..979359bf29 100644 --- a/input/regression/completion-heads-tie.ly +++ b/input/regression/completion-heads-tie.ly @@ -5,7 +5,7 @@ } -\version "2.16.0" +\version "2.19.2" \paper{ ragged-right=##t } @@ -13,6 +13,6 @@ \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } { - \relative c'' { r2 d1 ~ d1 d2 } + \relative c'' { r2 d1 ~ 1 d2 } } diff --git a/input/regression/grace-slashed-no-slur.ly b/input/regression/grace-slashed-no-slur.ly index f167a9794e..450ed819bd 100644 --- a/input/regression/grace-slashed-no-slur.ly +++ b/input/regression/grace-slashed-no-slur.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.2" \header { @@ -7,5 +7,5 @@ " } \relative c' { - \slashedGrace c16~ c1 + \slashedGrace c16~ 1 } diff --git a/input/regression/lyric-extender-no-heads.ly b/input/regression/lyric-extender-no-heads.ly index d99b486108..36d4133c06 100644 --- a/input/regression/lyric-extender-no-heads.ly +++ b/input/regression/lyric-extender-no-heads.ly @@ -6,7 +6,7 @@ without a lyric attached." } -\version "2.16.0" +\version "2.19.2" \layout { ragged-right = ##t @@ -14,7 +14,7 @@ without a lyric attached." \relative c'' { \time 3/4 - d4~ d4 r4 + d4~ 4 r4 \grace es8 d4 diff --git a/input/regression/make-relative.ly b/input/regression/make-relative.ly index 04bbed3900..c3bf0a01d3 100644 --- a/input/regression/make-relative.ly +++ b/input/regression/make-relative.ly @@ -1,4 +1,4 @@ -\version "2.19.0" +\version "2.19.2" \header { texidoc = "@code{make-relative} is a Scheme utility macro mainly @@ -32,9 +32,9 @@ ph = \ph d a d' fis' c'' \oneVoice R1*21 \voiceTwo | \skip 1*21 | R1*21 | \ph c, c g bes e' - c,2~ c, | r16 c8. ~ c4 ~ c2 + c,2~ 2 | r16 c8. ~ 4 ~ 2 | r8 f16 a c' f' c' a c' a f a f d f d | - c,2~ c, | r16 b,8. ~ b,4 ~ b,2 + c,2~ 2 | r16 b,8. ~ 4 ~ 2 | r8 g'16 b' d'' f'' d'' b' d'' b' g' b' d' f' e' d' | c,1\fermata | c1 | <e' g' c''>1\fermata \bar "|." | } @@ -61,9 +61,9 @@ ph = \ph d, a' d fis c' \oneVoice R1*21 \voiceTwo | \skip 1*21 | R1*21 | \ph c, c' g' bes e - c2~ c | r16 c'8. ~ c4 ~ c2 + c2~ 2 | r16 c'8. ~ 4 ~ 2 | r8 f16 a c f c' a c a f a f d f d | - c,,2~ c | r16 b'8. ~ b4 ~ b2 + c,,2~ 2 | r16 b'8. ~ 4 ~ 2 | r8 g'16 b d f d b d b g b d f e d | c,,1\fermata | c'1 | <e' g c>1\fermata \bar "|." | } diff --git a/input/regression/midi-lyric-barcheck.ly b/input/regression/midi-lyric-barcheck.ly index 84790d7be2..8c6e4c070f 100644 --- a/input/regression/midi-lyric-barcheck.ly +++ b/input/regression/midi-lyric-barcheck.ly @@ -12,7 +12,7 @@ this examples causes no bar checks in MIDI. <<\relative c'' \new Voice = A { \autoBeamOff c8[ c] c2. - c1~c4 c2. + c1~4 c2. c4 ( d e) d c1 diff --git a/input/regression/morgenlied.ly b/input/regression/morgenlied.ly index 00a8c78cff..c335683198 100644 --- a/input/regression/morgenlied.ly +++ b/input/regression/morgenlied.ly @@ -64,7 +64,7 @@ melody = \relative c'' \repeat volta 2 \new Voice = "singer" { d4 f8 a16[ g fis g] f[ d] | g4. r8 gis gis | a4 a16.[ b32] c4 fis,8 | - g4.~ g8-\fermata g8 g | + g4.~ 8-\fermata g8 g | as4 as8 g4 g8 | fis4 fis8 r8 g g | a!4 a8 g4 g8 | diff --git a/input/regression/mozart-hrn3-allegro.ily b/input/regression/mozart-hrn3-allegro.ily index 1494f4e299..48627557ba 100644 --- a/input/regression/mozart-hrn3-allegro.ily +++ b/input/regression/mozart-hrn3-allegro.ily @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.2" \include "mozart-hrn3-defs.ily" allegro = \relative c' { @@ -26,7 +26,7 @@ allegro = \relative c' { d8.[ c16 d8. e16] c4 r r2 R1*3 - c,2 ~ c8[ e g c] + c,2 ~ 8[ e g c] c[ b ] b4 r2 c,8[ ( e) g c] e[( g) e c] c[( b)] b4 r2 @@ -34,7 +34,7 @@ allegro = \relative c' { g'[( d) ] d4 r4 d d8[ ( c)] c4.( d16[ e] d8[ c)] c8[(\trill b)] b4 r2 | - d2( ~ d8[ e16 d] c8[ b)] | + d2( ~ 8[ e16 d] c8[ b)] | b[( a)] a4 r8 a[ a a] a4( cis e g) \appoggiatura g16 @@ -47,7 +47,7 @@ allegro = \relative c' { a[( \< b c cis\!\> ] d4 c\!) ais8[( b)] r8 b\cresc b[( c)] r c cis[ ( d)] r4 r2 - g,1\!\f ~ g2 ~ g8[ a16 b] c[( d) e c] + g,1\!\f ~ g2 ~ 8[ a16 b] c[( d) e c] %% 64 f4-. d-. b-. g-. R1 @@ -59,7 +59,7 @@ allegro = \relative c' { R1*15 \mark "D" bes2\mf d4 f - g,2~ g8[ g' es c]| + g,2~ 8[ g' es c]| bes4( a4.) c8[( d es)] cis4( d) r8 bes[ (c d)] es2 ( d4) r @@ -67,7 +67,7 @@ allegro = \relative c' { c8[( g' es c)] bes4( c) c4.( cis8 d4) r R1*2 - es1~es1| + es1~1| e! d c @@ -98,12 +98,12 @@ allegro = \relative c' { c4 r r2 \mark "F" R1*3 - c,2~ c8[ e g c] + c,2~ 8[ e g c] c8[( b)] b4 r2 c,8[ e g c ] e[ ( g) e c] c[( b)] b4 r2 c2 (bes a) a8[(b c cis)] - d2( ~ d8[ e16 d] \appoggiatura d16 + d2( ~ 8[ e16 d] \appoggiatura d16 c8[ b16 c)] \appoggiatura c16 b8[( a16 g)] g4 r2 | @@ -112,16 +112,16 @@ allegro = \relative c' { \mark "G" d[( c) g'( e)] d[( c) a'( f)] e[( d)] d4 r d8[ d] - d4(~ d16[ e d e)] g8[( f) e d] | + d4(~ 16[ e d e)] g8[( f) e d] | c4 r r2 R1 c1 ~ - c | + 1 | c8[-. c-.] r c-. cis[( d)] r d-.\cresc | dis[( e)] r e-. e[( f)] r f-. | g4-.\f e-. c-. bes-. | g-.\ff e-. c-. r | - a'2 ~ a8[_\markup { \bold \italic "sempre " \dynamic "f" } b16 c] d[( e d e)] + a'2 ~ 8[_\markup { \bold \italic "sempre " \dynamic "f" } b16 c] d[( e d e)] f4. ( d8) f8[ ( d) f d] c[ (e] g2) \appoggiatura f16 diff --git a/input/regression/mozart-hrn3-romanze.ily b/input/regression/mozart-hrn3-romanze.ily index 403d7aaf49..8d4d22f566 100644 --- a/input/regression/mozart-hrn3-romanze.ily +++ b/input/regression/mozart-hrn3-romanze.ily @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" \include "mozart-hrn3-defs.ily" romanze = \relative c' { @@ -34,7 +34,7 @@ romanze = \relative c' { f'4.(\p d8) b4 r8 g g'4.( e8) c4 r8 cis | % 39 - d4(~ d16[ e d e)] f8[ ( d) f( d)] + d4(~ 16[ e d e)] f8[ ( d) f( d)] c2( b4) r R1*4 e4. ( g8) c,4 ( cis) @@ -52,8 +52,8 @@ romanze = \relative c' { \revert DynamicLineSpanner.staff-padding R1*3 r8 c[\p c c] c2~ - c8[ c' c c] c2~ - c8[ \< e( g f] e[ d\!\> c bes] + 8[ c' c c] c2~ + 8[ \< e( g f] e[ d\!\> c bes] \mark "D" a4\!) r r2 R1*3 diff --git a/input/regression/mozart-hrn3-rondo.ily b/input/regression/mozart-hrn3-rondo.ily index d3997e7774..7ce852149b 100644 --- a/input/regression/mozart-hrn3-rondo.ily +++ b/input/regression/mozart-hrn3-rondo.ily @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \include "mozart-hrn3-defs.ily" @@ -45,13 +45,13 @@ rondo = \relative c' { e4 r8 r4 r8 g4. e4 c8 g2.~ - g8[ a b] c[ d e ] + 8[ a b] c[ d e ] e4.( d8) r r R2.*4 e2.~ | - e8[ d c] c[ b a] + 8[ d c] c[ b a] d2.~ - d8[ c b] b[ a g] + 8[ c b] b[ a g] g'4( e8) b4( cis8) \mark "B" d4 r8 r4 r8 @@ -75,7 +75,7 @@ rondo = \relative c' { r8 g[\f g] g[( b) b-.] b[( d) d-.] d[( g) g-.] g2.~ - g8[ \> a g] f[ e d] + 8[ \> a g] f[ e d] << \rondotheme @@ -86,40 +86,40 @@ rondo = \relative c' { r4 r8 r4 c8 \mark "D" c4 f8 c4 a8 - a4.~a4 a8 + a4.~4 a8 bes4 c8 d4 bes8 - g4. ~ g8 r r + g4. ~ 8 r r R2.*3 r4 r8 r4 c8 a4. c - f ~ f8.[ e16( d c)] + f ~ 8.[ e16( d c)] bes4 g8 e4 g8 - c,4. ~ c8 r r + c,4. ~ 8 r r R2.*3| r4 r8 r4 c'8 b4( c8) b4( c8) - bes4. ~ bes4 g8 + bes4. ~ 4 g8 a4 ( c8) f4 ( b,8) d4. ( c8) r r R2.*3| r4 r8 r4 c8 b4( c8) b4( c8) - bes4. ~ bes4 g8 + bes4. ~ 4 g8 a4 c8 f[ ( d) b!] d4. ( c8) r r \mark "E" R2.*9 | \lipbreaker c,8[ c' c] c4.~ - c8[ c d] e[ e fis] + 8[ c d] e[ e fis] g4 r8 r4 r8 R2. r8 g,[ g] g[ g g] | - es'4. ~ es8[ d c] + es'4. ~ 8[ d c] b4 r8 r4 r8 R2. | r8 g[ g] g[ g g] - es'4. ~ es8[ d c] + es'4. ~ 8[ d c] b4.\cresc c4. d4. e4. \mark "F" f2.\f ~ | diff --git a/input/regression/part-combine-global.ly b/input/regression/part-combine-global.ly index bf2afed3ea..9f99d89937 100644 --- a/input/regression/part-combine-global.ly +++ b/input/regression/part-combine-global.ly @@ -11,7 +11,7 @@ voices. " } -\version "2.16.0" +\version "2.19.2" vone = @@ -25,7 +25,7 @@ vone = vtwo = \relative c' { \time 2/4 - f8[ f]~ f8[ f] | + f8[ f]~ 8[ f] | f8[ f] f8[ f] } diff --git a/input/regression/part-combine-solo.ly b/input/regression/part-combine-solo.ly index 621282709e..e29e27b1ba 100644 --- a/input/regression/part-combine-solo.ly +++ b/input/regression/part-combine-solo.ly @@ -14,10 +14,10 @@ Solo 1/2 can not be used when a spanner is active, so there is no solo " } -vone = \relative a' { d4 r8 d8 d8 r8 d8 r8 d2 ~ d2 ~ d4 } +vone = \relative a' { d4 r8 d8 d8 r8 d8 r8 d2 ~ 2 ~ 4 } vtwo = \relative g' { g4. g8 r2 g4 r4 r2 g4 } -\version "2.16.0" +\version "2.19.2" \paper { ragged-right = ##t } diff --git a/input/regression/part-combine.ly b/input/regression/part-combine.ly index 8669f5bf12..8e896cfbc4 100644 --- a/input/regression/part-combine.ly +++ b/input/regression/part-combine.ly @@ -11,7 +11,7 @@ \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.2" vone = \relative a' { g2 g g g4 g f' c c( c) c c c ~ c @@ -19,7 +19,7 @@ vone = \relative a' { } vtwo = \relative a' { f2 f4 f f2 g4 g c, f f f f f~ f ~ f - f4 f2. ~ f4 + f4 f2. ~ 4 } diff --git a/input/regression/property-nested-override.ly b/input/regression/property-nested-override.ly index d7929a210a..0d8be92357 100644 --- a/input/regression/property-nested-override.ly +++ b/input/regression/property-nested-override.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" \header { texidoc = "Nested properties may be overridden using Scheme list syntax. This test performs two property overrides: the first @@ -11,10 +11,10 @@ list. \once \override TextSpanner.bound-details.left.text = #"foo" c4\startTextSpan \once \override Tie.details.note-head-gap = #1 - c4 ~ c c\stopTextSpan + c4 ~ 4 c\stopTextSpan \once \override TextSpanner.bound-details.left.text = #"foo" c4\startTextSpan \once \override Tie.details.note-head-gap = #1 - c4 ~ c c\stopTextSpan + c4 ~ 4 c\stopTextSpan } diff --git a/input/regression/quote-tie.ly b/input/regression/quote-tie.ly index e003ffbdce..27982b12e0 100644 --- a/input/regression/quote-tie.ly +++ b/input/regression/quote-tie.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "Voices from different cues must not be tied together. In @@ -11,7 +11,7 @@ since only one @code{CueVoice} context is created } cueI = \relative c'' { - a1 ~ | a | a | + a1 ~ | 1 | a | } \addQuote "cueI" { \cueI } diff --git a/input/regression/repeat-percent.ly b/input/regression/repeat-percent.ly index 0146d36c45..22fa2c3af1 100644 --- a/input/regression/repeat-percent.ly +++ b/input/regression/repeat-percent.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "Measure repeats may be nested with beat repeats." } @@ -10,7 +10,7 @@ \set Score.skipBars = ##t \time 4/4 % riff - \repeat "percent" 2 { r8. a16 g8. a16 bes8. a16 f8 d | a c8 ~ c8 d8 ~ d8 r8 r4 } + \repeat "percent" 2 { r8. a16 g8. a16 bes8. a16 f8 d | a c8 ~ 8 d8 ~ 8 r8 r4 } R1*2 \repeat "percent" 2 { \repeat "percent" 4 { c8 es } } diff --git a/input/regression/script-tie-collision.ly b/input/regression/script-tie-collision.ly index 0b1c837e0e..d85942e1af 100644 --- a/input/regression/script-tie-collision.ly +++ b/input/regression/script-tie-collision.ly @@ -1,4 +1,4 @@ -\version "2.17.2" +\version "2.19.2" \header { texidoc = "Scripts avoid ties. @@ -14,9 +14,9 @@ r2. c4~-> | c-> r2. | r2. c4-> | c-> r2. | r2. c4~-> | c r2. | - r2. c4~ | c-> r2. | \break + r2. c4~ | 4-> r2. | \break r2. <g-- c-> >4--~ | <g-- c>-> ~ <g c---_>-> r2 | - r2. c4~ | c-> ~ c-> r2 | + r2. c4~ | 4-> ~ c-> r2 | r2. c4~-> | c ~ c-> r2 | r2. c4~-> | c-> ~ c r2 | r2. c4-> | diff --git a/input/regression/slur-broken-trend.ly b/input/regression/slur-broken-trend.ly index 81f31fc078..185cd24159 100644 --- a/input/regression/slur-broken-trend.ly +++ b/input/regression/slur-broken-trend.ly @@ -1,5 +1,5 @@ -\version "2.17.28" +\version "2.19.2" \header{ texidoc=" @@ -38,12 +38,12 @@ in unbroken state. \new Voice \relative c' { c'8[( c c c] g2 ~ | \break g1) | \break - \slurDown c8[( c] g4 ~ g2 ~ | \break - g2 ~ g2) + \slurDown c8[( c] g4 ~ 2 ~ | \break + g2 ~ 2) } \relative c'' { a4( c b4 e, ~ | \break - e1 ~ | e1) + e1 ~ | 1) } } diff --git a/input/regression/slur-scoring.ly b/input/regression/slur-scoring.ly index 4c2f6ae7f1..ebcace50e0 100644 --- a/input/regression/slur-scoring.ly +++ b/input/regression/slur-scoring.ly @@ -12,7 +12,7 @@ } -\version "2.17.28" +\version "2.19.2" \layout { ragged-right = ##t % #(define debug-slur-scoring #t) @@ -23,7 +23,7 @@ \grace e=''16( d8.[) c16] d=''8.[ \grace f16( e16)] s2 - << {c=''8.([ es16] bes4~bes )} + << {c=''8.([ es16] bes4~4 )} \\ {r8 <as es> r <f des> r } >> diff --git a/input/regression/staff-online-symbol-absence.ly b/input/regression/staff-online-symbol-absence.ly index 6ddbd735e6..cb2c168f27 100644 --- a/input/regression/staff-online-symbol-absence.ly +++ b/input/regression/staff-online-symbol-absence.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "Symbols that need on-staffline info (like dots and ties) @@ -11,6 +11,6 @@ } \relative c' { \time 5/8 - f4 ~ f4 + f4 ~ 4 f4 f4. } diff --git a/input/regression/stem-direction.ly b/input/regression/stem-direction.ly index 16af1ecc73..39b6716360 100644 --- a/input/regression/stem-direction.ly +++ b/input/regression/stem-direction.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.2" \header{ texidoc=" @@ -13,7 +13,7 @@ notes, and up for low notes. ragged-right = ##t } \context Voice \relative c { - b''4 ~ b8(b8) e4 e, + b''4 ~ 8(b8) e4 e, } diff --git a/input/regression/tablature-chord-repetition-finger.ly b/input/regression/tablature-chord-repetition-finger.ly index 27b68dbaca..be67208185 100644 --- a/input/regression/tablature-chord-repetition-finger.ly +++ b/input/regression/tablature-chord-repetition-finger.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "In a TabStaff, the chord repetition function needs @@ -8,7 +8,7 @@ on the main staff." } Guitar = \relative c' { - r8 < gis-6 cis-6 b-0 > ~ q4 q8 ~ q q4 + r8 < gis-6 cis-6 b-0 > ~ q4 q8 ~ 8 q4 } \score { diff --git a/input/regression/tablature-chord-repetition.ly b/input/regression/tablature-chord-repetition.ly index 7fd2a30eef..0d08b705c5 100644 --- a/input/regression/tablature-chord-repetition.ly +++ b/input/regression/tablature-chord-repetition.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" \header { texidoc = "In a TabStaff, the chord repetition function needs @@ -11,7 +11,7 @@ music in the tabstaff, not affecting other contexts." \tabChordRepetition Guitar = \relative c' { - r8 < gis\4 cis\3 b\2 > ~ q4 q8 ~ q q4 + r8 < gis\4 cis\3 b\2 > ~ q4 q8 ~ 8 q4 } \score { diff --git a/input/regression/tablature-full-notation.ly b/input/regression/tablature-full-notation.ly index 55f6547911..eed3f35a5f 100644 --- a/input/regression/tablature-full-notation.ly +++ b/input/regression/tablature-full-notation.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.2" \header{ texidoc = "As default, tablature staves show only the fret numbers, because in most situations, they are combined with normal staves. @@ -12,7 +12,7 @@ tabstuff = { c4^"test" d( e) | f4\f g a^\fermata | R2.*3 | - c8\<\( c16 c ~ c2\! | + c8\<\( c16 c ~ 2\! | \mark \default c'2.\) | \ottava #1 diff --git a/input/regression/tablature-tie-behaviour.ly b/input/regression/tablature-tie-behaviour.ly index a784576ee6..06b97dbd1b 100644 --- a/input/regression/tablature-tie-behaviour.ly +++ b/input/regression/tablature-tie-behaviour.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.2" \header{ texidoc = "In tablature, notes that are tied to are invisible except after a line break or within a second volta; @@ -9,13 +9,13 @@ } firstpart = \relative c { - f2 ~ f4 e + f2 ~ 4 e g8 g ~ g g ~ g g~ g g ~ - g1 + 1 } secondpart = \relative c' { - c1 ~ \break c2 ~ c + c1 ~ \break c2 ~ 2 } thirdpart = \relative c' { diff --git a/input/regression/tablature-tie-spanner.ly b/input/regression/tablature-tie-spanner.ly index fd3346d7b8..d8f7b47b36 100644 --- a/input/regression/tablature-tie-spanner.ly +++ b/input/regression/tablature-tie-spanner.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = " @@ -8,9 +8,9 @@ corresponding fret number is displayed in parentheses. } music = { - c'4 ~ c'4 ( d'2 ) | - c'4 ~ c'4 \glissando d'2 | - c'4 ~ c'4 d'2 | + c'4 ~ 4 ( d'2 ) | + c'4 ~ 4 \glissando d'2 | + c'4 ~ 4 d'2 | c'4 \glissando d'2. | } diff --git a/input/regression/tag-multiple.ly b/input/regression/tag-multiple.ly index d9d62a0e0d..2f581e12ad 100644 --- a/input/regression/tag-multiple.ly +++ b/input/regression/tag-multiple.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" \header { texidoc = "The @code{\\removeWithTag} and @code{\\keepWithTag} @@ -12,7 +12,7 @@ music = << \tag #'flood \new Voice { \voiceOne \repeat unfold 16 { c'''8 cis'''8 } } \tag #'highball \new Voice { \voiceThree \repeat unfold 8 { a'4( as') } } - \tag #'buffoon \new Voice { \voiceFour \repeat unfold 2 { f1~ f } } + \tag #'buffoon \new Voice { \voiceFour \repeat unfold 2 { f1~ 1 } } >> demo = diff --git a/input/regression/tie-dash.ly b/input/regression/tie-dash.ly index 147d78a160..b6de95cc5b 100644 --- a/input/regression/tie-dash.ly +++ b/input/regression/tie-dash.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.2" \header {texidoc = "@cindex Tie, dotted, dashed The appearance of ties may be changed from solid to dotted or dashed. " @@ -7,23 +7,23 @@ The appearance of ties may be changed from solid to dotted or dashed. \relative c'{ - c2 ~ c | + c2 ~ 2 | \tieDotted - c2 ~ c | + c2 ~ 2 | \tieDashed - c2 ~ c | + c2 ~ 2 | \tieHalfDashed - c2 ~ c | + c2 ~ 2 | \tieHalfSolid - c2 ~ c | + c2 ~ 2 | \tieDashPattern #0.4 #2.0 - c2 ~ c | + c2 ~ 2 | \once \override Tie.dash-definition = #'((0 0.25 1 1) (0.3 0.7 0.4 0.75) (0.75 1.0 1.0 1.0)) - c2 ~ c | + c2 ~ 2 | \tieSolid - c2 ~ c | + c2 ~ 2 | } diff --git a/input/regression/tie-dot.ly b/input/regression/tie-dot.ly index f595dc582e..57e098e72a 100644 --- a/input/regression/tie-dot.ly +++ b/input/regression/tie-dot.ly @@ -3,14 +3,14 @@ texidoc = "Ties avoid collisions with dots." } -\version "2.16.0" +\version "2.19.2" \paper { ragged-right = ##T } \relative c'' { \time 12/8 d4*3/2~ d8[ e] r8 - d4.~ d8 e f + d4.~ 8 e f } diff --git a/input/regression/tie-grace.ly b/input/regression/tie-grace.ly index 3aa59a21e1..da27120371 100644 --- a/input/regression/tie-grace.ly +++ b/input/regression/tie-grace.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.2" \header { texidoc = "Tying a grace to a following grace or main note works." } @@ -7,7 +7,7 @@ \layout { ragged-right= ##t } \context Voice \relative c'' { - c4 \grace { c8 ~ c16 ~ } c4 + c4 \grace { c8 ~ 16 ~ } c4 } diff --git a/input/regression/tie-single-manual.ly b/input/regression/tie-single-manual.ly index 23df905a94..e937c7c846 100644 --- a/input/regression/tie-single-manual.ly +++ b/input/regression/tie-single-manual.ly @@ -5,7 +5,7 @@ specifying their @code{direction} and/@/or @code{staff-position}." } -\version "2.17.6" +\version "2.19.2" \paper { ragged-right = ##t @@ -13,12 +13,12 @@ specifying their @code{direction} and/@/or @code{staff-position}." { \override Tie.staff-position = #-5.5 - c'4 ~ c' + c'4 ~ 4 \override Tie.staff-position = #-6.5 - c'4 ~ c' + c'4 ~ 4 \override Tie.staff-position = #-7.5 - c'4 ~ c' + c'4 ~ 4 \revert Tie.staff-position \override Tie.direction = #UP - c'4 ~ c' + c'4 ~ 4 } diff --git a/input/regression/tie-single.ly b/input/regression/tie-single.ly index 7dcea62066..59799a215c 100644 --- a/input/regression/tie-single.ly +++ b/input/regression/tie-single.ly @@ -22,12 +22,12 @@ that otherwise don't fit in a space ragged-right = ##t } -\version "2.16.0" +\version "2.19.2" frag = \relative c'' { - c16 c2...~ c16 ~ c2... | - c4~c8 c8~c16 c16~c32 c16.~[ c64]~ c64[ c8..] | + c16 c2...~ 16 ~ 2... | + c4~8 c8~16 c16~32 c16.~[ c64]~ 64[ c8..] | } diff --git a/input/regression/tie-unterminated.ly b/input/regression/tie-unterminated.ly index 8e66e8a2a4..77049bdf2a 100644 --- a/input/regression/tie-unterminated.ly +++ b/input/regression/tie-unterminated.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.2" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "unterminated tie")) @@ -8,7 +8,7 @@ } \relative c' { - c1~ c | + c1~ 1 | c1~ <e c> | c1~ d | <c e>1~ c | diff --git a/input/regression/typography-demo.ly b/input/regression/typography-demo.ly index 7cc98d500f..45a9945dfd 100644 --- a/input/regression/typography-demo.ly +++ b/input/regression/typography-demo.ly @@ -47,7 +47,7 @@ melody = \relative c'' \repeat volta 2 \context Voice = "singer" { \transpose a' e' \relative c'' { a16[ g fis! g] f![ d] } | g4. r8 gis gis | a4 a16.[ b32] c8[( a]) fis8 | - g4.~ g8-\fermata + g4.~ 8-\fermata } |