diff options
| author | David Kastrup <dak@gnu.org> | 2015-05-28 17:36:12 +0200 |
|---|---|---|
| committer | David Kastrup <dak@gnu.org> | 2015-05-29 15:05:08 +0200 |
| commit | a94d26b6693cad58b946a01b7efaaed29480f063 (patch) | |
| tree | da840d07cfbc23ff600a9bae5947f60be34a345e | |
| parent | 8c769fc52f092210a21288e81d008dc3f700a626 (diff) | |
Run scripts/auxiliar/update-with-convert-ly.sh -f 2.19.20
Then revert Documentation/snippets/*.ly
362 files changed, 2241 insertions, 2241 deletions
diff --git a/Documentation/ca/learning/common-notation.itely b/Documentation/ca/learning/common-notation.itely index fa380958ec..e58919ca28 100644 --- a/Documentation/ca/learning/common-notation.itely +++ b/Documentation/ca/learning/common-notation.itely @@ -1245,11 +1245,11 @@ lletra a les notes. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1304,20 +1304,20 @@ del @notation{Judas Macabeu} de Haendel: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 } \addlyrics { Let | flee -- cy flocks the | hills a -- dorn, diff --git a/Documentation/ca/learning/fundamental.itely b/Documentation/ca/learning/fundamental.itely index 59ddb2ecc8..21f4bcf00b 100644 --- a/Documentation/ca/learning/fundamental.itely +++ b/Documentation/ca/learning/fundamental.itely @@ -886,12 +886,12 @@ ignoreu tot el que no entengueu. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Veu u \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Veu dos { \voiceTwoStyle @@ -1061,18 +1061,18 @@ indicacions de dinà mica: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1093,10 +1093,10 @@ melodia principal està ara dins d'un context d'una sola veu, fent que es pugui traçar una lligadura per sobre d'elles. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % Aquesta secció és homofònica - c16^( d e f + c'16^( d e f % Comença una secció simultà nia de tres veus << % Continua la veu principal en paral·lel @@ -1156,11 +1156,11 @@ notes espaiadores per passar per sobre de les seccions on una veu està en silenci, com per exemple: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Inicia la primera veu \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Inicia la segona veu \new Voice { @@ -1259,10 +1259,10 @@ mitjançant @code{\lyricsto@{@}}, usant el nom assignat a la veu. @lilypond[quote,verbatim] << \new Voice = "una" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "una" { @@ -1808,13 +1808,13 @@ etiquetat, però no el segon, perquè hem omès el nom del context. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Incorrecte! - d2 d + d'2 d } >> @end lilypond @@ -1859,9 +1859,9 @@ AixÃ, això desactivarà els bequadres addicionals a un pentagrama: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1874,9 +1874,9 @@ i això els desactivarà a tots els pentagrames: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2124,15 +2124,15 @@ partir d'aquesta única veu: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2149,15 +2149,15 @@ pentagrama: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2485,18 +2485,18 @@ musicaBaix = \relative { lletraBaix = \lletraSoprano -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2715,17 +2715,17 @@ musicaBaix = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } lletraBaix = \lletraSoprano -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3137,9 +3137,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violà = \relative c'' { +violà = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3161,9 +3161,9 @@ reescrit sense cap identificador. Trobareu que és molt més difÃcil de llegir, sobretot l'última lÃnia. @example -violà = \relative c'' @{ +violà = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3299,7 +3299,7 @@ Aquesta instrucció estableix el valor de la propietat anterior, arribem al següent resultat @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/ca/learning/tutorial.itely b/Documentation/ca/learning/tutorial.itely index 31f7435d6e..5c9e519800 100644 --- a/Documentation/ca/learning/tutorial.itely +++ b/Documentation/ca/learning/tutorial.itely @@ -441,10 +441,10 @@ La @notation{indicació de tempo} i la @notation{indicació de metrònom} poden establir-se amb l'ordre @code{\tempo}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -500,11 +500,11 @@ Aquà teniu un petit exemple que mostra tots els elements anteriors a l'hora: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/ca/learning/tweaks.itely b/Documentation/ca/learning/tweaks.itely index 830a26f1e3..c24d32262c 100644 --- a/Documentation/ca/learning/tweaks.itely +++ b/Documentation/ca/learning/tweaks.itely @@ -4149,10 +4149,10 @@ aquà l'efecte dels dos mètodes: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4171,10 +4171,10 @@ aquà l'efecte dels dos mètodes: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.stencil = ##f % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4329,9 +4329,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4374,9 +4374,9 @@ fitxer com @file{musica.ly}). @example \include "definicions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4396,9 +4396,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4477,9 +4477,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4552,9 +4552,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4779,7 +4779,7 @@ notes un color que depèn de la seva posició dins del pentagrama. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/cs/learning/common-notation.itely b/Documentation/cs/learning/common-notation.itely index 88ced2b973..ba4277c89c 100644 --- a/Documentation/cs/learning/common-notation.itely +++ b/Documentation/cs/learning/common-notation.itely @@ -1173,11 +1173,11 @@ jimiž lze vyrovnat text s notami: @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1232,20 +1232,20 @@ Händelova dÃla @notation{Judas Maccabeus}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 c232085074..4b99b1f9e2 100644 --- a/Documentation/cs/learning/fundamental.itely +++ b/Documentation/cs/learning/fundamental.itely @@ -922,12 +922,12 @@ porozumÄ›t. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1093,18 +1093,18 @@ majà pÅ™Ãkazy @code{\oneVoice}, @code{\voiceOne} a @code{voiceTwo} @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1122,10 +1122,10 @@ tvaru Äerveného diamantu ukazujÃ, že se hlavnà hlas nacházà v prostÅ™edà jednotlivého hlasu. TÃm se může frázovacà oblouÄek malovat nad nÄ›. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % The following notes are monophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1189,11 +1189,11 @@ se dajà mÃsta, kde se hlas nevyskytuje, pÅ™eskoÄit pomocà neviditelných not jako je tomu zde: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1287,10 +1287,10 @@ se použije oznaÄenà pÅ™iÅ™azené hlasu. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1866,13 +1866,13 @@ nicht, weil der Kontext ausgelassen wurde. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1917,9 +1917,9 @@ ausgeschaltet sind: \new Staff \relative { ais'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - ais2 aes + ais'2 aes } >> @end lilypond @@ -1932,9 +1932,9 @@ während das dazu dient, sie in allen Systemen auszuschalten: \new Staff \relative { ais'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - ais2 aes + ais'2 aes } >> @end lilypond @@ -2187,15 +2187,15 @@ und zeigt ihn an: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2212,15 +2212,15 @@ Stimmen in diesem Notensystem errechnet: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2561,17 +2561,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -2799,17 +2799,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -3238,9 +3238,9 @@ fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b + c''4._\dolce b8 a8 g a b \padText c4.^"hi there!" d8 e' f g d c,4.\fthenp b8 c4 c-. @@ -3262,9 +3262,9 @@ vorige Beispiel ohne jede Benutzung von Variablen. Es ist sehr viel schwerer lesbar, besonders die letzte Zeile. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d c,4.\markup @{ @@ -3398,7 +3398,7 @@ Dieser Befehl setzt die Eigenschaft @code{skipBars} im Beispiel: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/cs/learning/tutorial.itely b/Documentation/cs/learning/tutorial.itely index 8b940467be..9719d9d072 100644 --- a/Documentation/cs/learning/tutorial.itely +++ b/Documentation/cs/learning/tutorial.itely @@ -430,10 +430,10 @@ SlovnÃÄek: @rglos{tempo indication}, @rglos{metronome}. zapsat pÅ™Ãkazem @code{\tempo}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -479,11 +479,11 @@ SlovnÃÄek: @rglos{clef}. Zde je malý pÅ™Ãklad, který obsahuje vÅ¡echna tato vymezenÃ: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r4 diff --git a/Documentation/cs/learning/tweaks.itely b/Documentation/cs/learning/tweaks.itely index d5b9ebff09..c08faed18b 100644 --- a/Documentation/cs/learning/tweaks.itely +++ b/Documentation/cs/learning/tweaks.itely @@ -3848,10 +3848,10 @@ einem entfernten Objekt gezeigt: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.transparent = ##t % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3867,10 +3867,10 @@ einem entfernten Objekt gezeigt: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.stencil = ##f % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4028,9 +4028,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4077,9 +4077,9 @@ Noten (in der Datei @file{music.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4102,9 +4102,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4188,9 +4188,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4268,9 +4268,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4532,7 +4532,7 @@ zu ihrer Position innerhalb der Tonleiter gesetzt. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/de/essay/engraving.itely b/Documentation/de/essay/engraving.itely index f6aaf54145..b968490c7f 100644 --- a/Documentation/de/essay/engraving.itely +++ b/Documentation/de/essay/engraving.itely @@ -494,22 +494,22 @@ global = { \override StaffSymbol.staff-space = #(magstep -4) \override StaffSymbol.thickness = #(magstep -3) } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 <c f aes c> + s4. s8 r8 r16 <c' f aes c> <c f aes c>4.^> <c ees g>8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -601,7 +601,7 @@ Anders gesagt: welcher von den drei Konfigurationen sollte für den folgenden Bogen ausgewählt werden? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -644,7 +644,7 @@ verliehen. Das erste Beispiel erhält 15.39 Punkte, weil einer der Notenköpfe angeschnitten wird: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -658,7 +658,7 @@ und 9.37 Punkte auf der rechten Seite verliehen, plus weiteren Insgesamt also 13.08 Punkte: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -833,24 +833,24 @@ Version von LilyPond: @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -1151,16 +1151,16 @@ Beispiel heranzieht: \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \tuplet 7/6 { g8 g g g g g g } + \tuplet 7/6 { g''8 g g g g g g } \oneVoice r4 <b,, fis' g bes> r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 + c'4 \tuplet 5/4 { <c ees>8 f g \change Staff = "LH" \oneVoice @@ -1455,8 +1455,8 @@ ausgerichtet, beim zweiten nach oben (rechts). @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown <e g b>4_>-\arpeggio + \relative { + \stemDown <e' g b>4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp <e g b>4^>-\arpeggio } @@ -1524,11 +1524,11 @@ die Notenköpfe gezeichnet werden, während des Ausschnitts verändert. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - <d f g>4 + <d' f g>4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1751,9 +1751,9 @@ LilyPond, version @version{}: @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d ees4 ~ 16 d c bes a4 r8 ees'16 d @@ -1762,9 +1762,9 @@ partI = \relative c' { a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ 2 r8 d' ees g, @@ -1772,16 +1772,16 @@ partII = \relative c' { bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a diff --git a/Documentation/de/extending/programming-interface.itely b/Documentation/de/extending/programming-interface.itely index 78e86f1c39..b8258b60a5 100644 --- a/Documentation/de/extending/programming-interface.itely +++ b/Documentation/de/extending/programming-interface.itely @@ -1396,10 +1396,10 @@ neu ausgerichtet wird. (eq? (car (last-pair siblings)) grob)) (ly:grob-set-property! grob 'extra-offset '(-2 . 5))))) -\relative c'' { +\relative { \override Tie.after-line-breaking = #my-callback - c1 ~ \break c2 ~ 2 + c''1 ~ \break c2 ~ 2 } @end lilypond diff --git a/Documentation/de/extending/scheme-tutorial.itely b/Documentation/de/extending/scheme-tutorial.itely index 3bbd78a357..90f8daebfe 100644 --- a/Documentation/de/extending/scheme-tutorial.itely +++ b/Documentation/de/extending/scheme-tutorial.itely @@ -1616,9 +1616,9 @@ tempoPadded = #(define-music-function (parser location padding tempotext) \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/de/learning/common-notation.itely b/Documentation/de/learning/common-notation.itely index 2f324e2680..63a42bdaea 100644 --- a/Documentation/de/learning/common-notation.itely +++ b/Documentation/de/learning/common-notation.itely @@ -1169,11 +1169,11 @@ zeigt, mit denen Text an den Noten ausgerichtet werden kann: @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1228,20 +1228,20 @@ aus Händels @notation{Judas Maccabäus}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 e466b5e9ae..3e218ffe67 100644 --- a/Documentation/de/learning/fundamental.itely +++ b/Documentation/de/learning/fundamental.itely @@ -937,12 +937,12 @@ verstehen können. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1110,18 +1110,18 @@ mit Text, Bögen und Dynamikbezeichnung anstellen: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1141,10 +1141,10 @@ einem einzigen Stimmen (@code{voice})-Kontext befindet. Somit kann ein Phrasierungsbogen ober sie gesetzt werden. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1209,11 +1209,11 @@ Hierbei kann man mit unsichtbaren Noten dann die Stellen überspringen, an denen die Stimme nicht auftaucht, wie etwa hier: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1317,10 +1317,10 @@ Bezeichnung der Stimme benutzt wird. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1901,13 +1901,13 @@ nicht, weil der Kontext ausgelassen wurde. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1952,9 +1952,9 @@ ausgeschaltet sind: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1967,9 +1967,9 @@ während das dazu dient, sie in allen Systemen auszuschalten: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2222,15 +2222,15 @@ und zeigt ihn an: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2247,15 +2247,15 @@ Stimmen in diesem Notensystem errechnet: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2596,17 +2596,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -2834,17 +2834,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -3273,9 +3273,9 @@ fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b + c''4._\dolce b8 a8 g a b \padText c4.^"hi there!" d8 e' f g d c,4.\fthenp b8 c4 c-. @@ -3297,9 +3297,9 @@ vorige Beispiel ohne jede Benutzung von Variablen. Es ist sehr viel schwerer lesbar, besonders die letzte Zeile. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d c,4.\markup @{ @@ -3433,7 +3433,7 @@ Dieser Befehl setzt die Eigenschaft @code{skipBars} im Beispiel: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/de/learning/tutorial.itely b/Documentation/de/learning/tutorial.itely index 5c0267795b..2e5a69e66d 100644 --- a/Documentation/de/learning/tutorial.itely +++ b/Documentation/de/learning/tutorial.itely @@ -440,10 +440,10 @@ Die @notation{Tempobezeichnung} und die @notation{Metronom-Angabe} können mit dem @code{\tempo}-Befehl gesetzt werden: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -489,11 +489,11 @@ gesetzt werden: Hier ist ein kleines Beispiel, dass all diese Definitionen beinhaltet: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r4 diff --git a/Documentation/de/learning/tweaks.itely b/Documentation/de/learning/tweaks.itely index 70b0dfa25a..eb66ed5e3e 100644 --- a/Documentation/de/learning/tweaks.itely +++ b/Documentation/de/learning/tweaks.itely @@ -3873,10 +3873,10 @@ einem entfernten Objekt gezeigt: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.transparent = ##t % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3892,10 +3892,10 @@ einem entfernten Objekt gezeigt: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.stencil = ##f % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4053,9 +4053,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4101,9 +4101,9 @@ Noten (in der Datei @file{music.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4126,9 +4126,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4212,9 +4212,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4292,9 +4292,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4521,7 +4521,7 @@ zu ihrer Position innerhalb der Tonleiter gesetzt. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/de/notation/ancient.itely b/Documentation/de/notation/ancient.itely index 326d3a615a..aa88b1cfee 100644 --- a/Documentation/de/notation/ancient.itely +++ b/Documentation/de/notation/ancient.itely @@ -930,10 +930,10 @@ was man als Variable definieren kann: @lilypond[quote,verbatim] ficta = { \once \set suggestAccidentals = ##t } -\score { \relative c'' +\score { \relative \new MensuralVoice { \once \set suggestAccidentals = ##t - bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1 + bes'4 a2 g2 \ficta fis8 \ficta e! fis2 g1 } } @end lilypond @@ -2839,10 +2839,10 @@ gemacht): @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" \set Score.timing = ##f - c\breve \hide NoteHead c c c c c + c'\breve \hide NoteHead c c c c c \undo \hide NoteHead \override Stem.transparent = ##f \stemUp c4 b4 a \hide Stem c2 c4 \divisioMaior @@ -2895,10 +2895,10 @@ können sie mit unsichtbaren (@code{s})-Noten vorgenommen werden. @lilypond[verbatim,quote] -spiritus = \relative c' { +spiritus = \relative { \time 1/4 \override Lyrics.LyricText.X-extent = #'(0 . 3) - d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e + d'4 \tuplet 3/2 { f8 a g } g a a4 g f8 e d4 f8 g g8 d f g a g f4 g8 a a4 s \tuplet 3/2 { g8 f d } e f g a g4 } diff --git a/Documentation/de/notation/changing-defaults.itely b/Documentation/de/notation/changing-defaults.itely index e10634e939..c121b4e13b 100644 --- a/Documentation/de/notation/changing-defaults.itely +++ b/Documentation/de/notation/changing-defaults.itely @@ -4445,9 +4445,9 @@ tempoPadded = \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/de/notation/editorial.itely b/Documentation/de/notation/editorial.itely index 0943ad9902..a365471248 100644 --- a/Documentation/de/notation/editorial.itely +++ b/Documentation/de/notation/editorial.itely @@ -627,11 +627,11 @@ den Linien festgesetzt. \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c4. d8 e8 f g4 + c''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { \clef bass \stemDown c4 g' f e diff --git a/Documentation/de/notation/fretted-strings.itely b/Documentation/de/notation/fretted-strings.itely index aeb07b572d..61572685b2 100644 --- a/Documentation/de/notation/fretted-strings.itely +++ b/Documentation/de/notation/fretted-strings.itely @@ -306,9 +306,9 @@ Bindestriche über einen Zeilenumbruch werden standardmäßig in Klammern gesetzt. Das gilt auch für die zweite Klammer einer Wiederholung. @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { @@ -346,9 +346,9 @@ Der Befehl @code{\hideSplitTiedTabNotes} hebt das Verhalten auf, dass Bundnummern in Klammern gesetzt werden: @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { { g4 f2. } @@ -1750,10 +1750,10 @@ oder Flageoletttöne anzuzeigen. Flageoletttöne werden normalerweise mit einem Text erklärt. @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \clef "treble_8" \override Staff.NoteHead.style = #'harmonic-mixed - d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 + d'^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 } @end lilypond diff --git a/Documentation/de/notation/input.itely b/Documentation/de/notation/input.itely index eabec21b28..2d4765e594 100644 --- a/Documentation/de/notation/input.itely +++ b/Documentation/de/notation/input.itely @@ -613,10 +613,10 @@ einer @bs{}@code{score}-Umgebung verwenden wollen.} } \score { - \new Staff \relative g, { + \new Staff \relative { \clef bass \key g \major - \repeat unfold 2 { g16( d' b') a b d, b' d, } | + \repeat unfold 2 { g,16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { @@ -625,7 +625,7 @@ einer @bs{}@code{score}-Umgebung verwenden wollen.} } \score { - \new Staff \relative b { + \new Staff \relative { \clef bass \key g \major \partial 16 b16 | diff --git a/Documentation/de/notation/rhythms.itely b/Documentation/de/notation/rhythms.itely index 1f076ec353..6f4f642df7 100644 --- a/Documentation/de/notation/rhythms.itely +++ b/Documentation/de/notation/rhythms.itely @@ -1202,8 +1202,8 @@ Standard zurückgesetzt werden: @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1746,9 +1746,9 @@ Zahl den Nenner des Bruches darstellt, während die vorherkommenden Zahlen die Zähler sind. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1757,14 +1757,14 @@ werden (von Klammern abgegrenzt). Automatische Balken werden entsprechend der Werte angepasst. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2169,10 +2169,10 @@ niedrigere befindet. } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> diff --git a/Documentation/de/notation/simultaneous.itely b/Documentation/de/notation/simultaneous.itely index ceb66224ef..8e9c93a5d0 100644 --- a/Documentation/de/notation/simultaneous.itely +++ b/Documentation/de/notation/simultaneous.itely @@ -201,9 +201,9 @@ wiederholt werden, es sei denn, der gleiche Ereignistyp wird selber mit dem @code{q} verwendet: @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/de/notation/staff.itely b/Documentation/de/notation/staff.itely index efe07bb472..835bd0cab3 100644 --- a/Documentation/de/notation/staff.itely +++ b/Documentation/de/notation/staff.itely @@ -989,14 +989,14 @@ Einzugs (@code{indent} und @code{short-indent}) vergrößert werden. Zu Einzelheiten siehe @ref{paper-Variablen für Verschiebungen und Einrückungen,,@code{@bs{}paper}-Variablen für Verschiebungen und Einrückungen}. @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/de/notation/vocal.itely b/Documentation/de/notation/vocal.itely index 3bf34b39a2..6e7c5cb026 100644 --- a/Documentation/de/notation/vocal.itely +++ b/Documentation/de/notation/vocal.itely @@ -267,13 +267,13 @@ in @ref{Automatische Silbendauern}. << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -498,13 +498,13 @@ Ein Beispiel demonstiert das: << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % takes durations and alignment from notes in "one" initially @@ -627,8 +627,8 @@ gesetzt werden. @lilypond[quote,ragged-right,verbatim] { - \relative c'' { \autoBeamOff - r8 b c fis, fis c' b e, } + \relative { \autoBeamOff + r8 b' c fis, fis c' b e, } \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da } \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da } \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da } @@ -1464,8 +1464,8 @@ Dauer, unabhängig vom Wert der auf den Befehl folgenden Zahl.} \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1514,9 +1514,9 @@ richtige Ausrichtung des Textes zu erreichen. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1551,8 +1551,8 @@ müssen manuell eingegeben werden: \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1584,8 +1584,8 @@ benutzen wollen, müssen sie manuell notiert werden: \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1661,11 +1661,11 @@ anhängt: \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1832,9 +1832,9 @@ vorgenommen. @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -1919,9 +1919,9 @@ unterschiedlichen Melodien auszurichten. Das wird mit der @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2795,8 +2795,8 @@ Hier ein Beispiel, das zeigt, wie das gesetzt werden kann. @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/de/notation/world.itely b/Documentation/de/notation/world.itely index 4d9c13b62c..c2939f1d65 100644 --- a/Documentation/de/notation/world.itely +++ b/Documentation/de/notation/world.itely @@ -212,9 +212,9 @@ werden. @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { +\relative { \set Staff.extraNatural = ##f - dod dob dosd \dwn dob dobsb dodsd do do + dod' dob dosd \dwn dob dobsb dodsd do do } @end lilypond @@ -416,13 +416,13 @@ etwa Zwischenintervalle und ungewöhnliche Modi, zu illustrieren. @lilypond[quote,verbatim] \include "arabic.ly" \score { - \relative re' { + \relative { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re'4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 diff --git a/Documentation/es/essay/engraving.itely b/Documentation/es/essay/engraving.itely index afed93cd89..78962556ef 100644 --- a/Documentation/es/essay/engraving.itely +++ b/Documentation/es/essay/engraving.itely @@ -504,22 +504,22 @@ global = { \override StaffSymbol.staff-space = #(magstep -4) \override StaffSymbol.thickness = #(magstep -3) } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 <c f aes c> + s4. s8 r8 r16 <c' f aes c> <c f aes c>4.^> <c ees g>8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -607,7 +607,7 @@ comparaciones detalladas con grabados de música reales. de las tres configuraciones elegirÃamos para la siguiente ligadura? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -651,7 +651,7 @@ ligadura, y LilyPond ha otorgado una puntuación a cada una en rozar la cabeza de una de las figuras: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -665,7 +665,7 @@ asciende mientras la melodÃa desciende, dando un total de 13.08 puntos de fealdad: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -838,24 +838,24 @@ LilyPond en segundo: @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -1159,16 +1159,16 @@ aparente si tenemos en cuenta un ejemplo musical más complejo: \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \tuplet 7/6 { g8 g g g g g g } + \tuplet 7/6 { g''8 g g g g g g } \oneVoice r4 <b,, fis' g bes> r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 + c'4 \tuplet 5/4 { <c ees>8 f g \change Staff = "LH" \oneVoice @@ -1465,8 +1465,8 @@ tiene todas las direcciones hacia arriba (o hacia la derecha). @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown <e g b>4_>-\arpeggio + \relative { + \stemDown <e' g b>4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp <e g b>4^>-\arpeggio } @@ -1536,11 +1536,11 @@ a lo largo del fragmento musical. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - <d f g>4 + <d' f g>4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1767,9 +1767,9 @@ LilyPond, versión @version{}: @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d ees4 ~ 16 d c bes a4 r8 ees'16 d @@ -1778,9 +1778,9 @@ partI = \relative c' { a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ 2 r8 d' ees g, @@ -1788,16 +1788,16 @@ partII = \relative c' { bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a diff --git a/Documentation/es/extending/programming-interface.itely b/Documentation/es/extending/programming-interface.itely index 3f5507c7d0..b0b8e805c3 100644 --- a/Documentation/es/extending/programming-interface.itely +++ b/Documentation/es/extending/programming-interface.itely @@ -1375,11 +1375,11 @@ para esa propiedad, y que puede verse en el manual de referencia interna o en el archivo 'define-grobs.scm': @example -\relative c'' @{ +\relative @{ \override Flag.X-offset = #(lambda (flag) (let ((default (ly:flag::calc-x-offset flag))) (* default 4.0))) - c4. d8 a4. g8 + c''4. d8 a4. g8 @} @end example @@ -1533,10 +1533,10 @@ arriba. (eq? (car (last-pair siblings)) grob)) (ly:grob-set-property! grob 'extra-offset '(-2 . 5))))) -\relative c'' { +\relative { \override Tie.after-line-breaking = #my-callback - c1 ~ \break + c''1 ~ \break c2 ~ 2 } @end lilypond diff --git a/Documentation/es/extending/scheme-tutorial.itely b/Documentation/es/extending/scheme-tutorial.itely index d0ecd4c739..479c62c95e 100644 --- a/Documentation/es/extending/scheme-tutorial.itely +++ b/Documentation/es/extending/scheme-tutorial.itely @@ -1690,9 +1690,9 @@ tempoPadded = #(define-music-function (parser location padding tempotext) \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/es/learning/common-notation.itely b/Documentation/es/learning/common-notation.itely index 14db679397..b80663df4d 100644 --- a/Documentation/es/learning/common-notation.itely +++ b/Documentation/es/learning/common-notation.itely @@ -1248,11 +1248,11 @@ las notas. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1306,20 +1306,20 @@ del @notation{Judas Macabeo} de Haendel: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 03bdd50ab5..11501137a8 100644 --- a/Documentation/es/learning/fundamental.itely +++ b/Documentation/es/learning/fundamental.itely @@ -883,12 +883,12 @@ entienda. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1055,18 +1055,18 @@ las ligaduras de unión y de expresión y las indicaciones de dinámica: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1086,10 +1086,10 @@ está ahora dentro de un contexto de una sola voz, haciendo que se pueda trazar una ligadura por encima de ellas. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1149,11 +1149,11 @@ usando notas espaciadoras para pasar por encima de las secciones en que una voz está en silencio, como aquÃ: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1253,10 +1253,10 @@ usando el nombre asignado a la voz. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1808,13 +1808,13 @@ contexto. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1859,9 +1859,9 @@ AsÃ, esto desactivará los becuadros adicionales en un pentagrama: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1874,9 +1874,9 @@ y esto los desactivará en todos los pentagramas: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2122,15 +2122,15 @@ partir de esa única voz: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2147,15 +2147,15 @@ pentagrama: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2481,18 +2481,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2709,17 +2709,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3132,9 +3132,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3156,9 +3156,9 @@ sin ningún identificador. Encontrará que es mucho más difÃcil de leer, sobre todo la última lÃnea. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3294,7 +3294,7 @@ silencio y esta opción a la música anterior, llegamos al siguiente resultado @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/es/learning/tutorial.itely b/Documentation/es/learning/tutorial.itely index 892b579443..2e0199c712 100644 --- a/Documentation/es/learning/tutorial.itely +++ b/Documentation/es/learning/tutorial.itely @@ -444,10 +444,10 @@ La @notation{indicación de tempo} y la @notation{indicación metronómica} pueden establecerse con la instrucción @code{\tempo}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -503,11 +503,11 @@ He aquà un pequeño ejemplo que muestra todos los elementos anteriores juntos: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/es/learning/tweaks.itely b/Documentation/es/learning/tweaks.itely index 62ab388ca0..a339dff428 100644 --- a/Documentation/es/learning/tweaks.itely +++ b/Documentation/es/learning/tweaks.itely @@ -4132,10 +4132,10 @@ los dos métodos: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4154,10 +4154,10 @@ los dos métodos: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \override Score.MetronomeMark.stencil = ##f % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4310,9 +4310,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4356,9 +4356,9 @@ archivo como @file{musica.ly}). @example \include "definiciones.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinete" cis4.\< d8 e4 fis | @@ -4378,9 +4378,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4458,9 +4458,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4533,9 +4533,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4757,7 +4757,7 @@ notas un color que depende de su posición dentro del pentagrama. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/es/notation/ancient.itely b/Documentation/es/notation/ancient.itely index ec3c35cb34..95efa87b53 100644 --- a/Documentation/es/notation/ancient.itely +++ b/Documentation/es/notation/ancient.itely @@ -232,8 +232,8 @@ ligadura en particular. De forma predeterminada, el grabador sobre la ligadura: @lilypond[quote,ragged-right,verbatim] -\relative c'' { - \[ g c, a' f d' \] +\relative { + \[ g' c, a' f d' \] a g f \[ e f a g \] } @@ -386,9 +386,9 @@ escribir el canto, como lo demuestra el siguiente fragmento: @lilypond[quote,ragged-right,verbatim] \score { << - \new MensuralVoice = "discantus" \relative c'' { + \new MensuralVoice = "discantus" \relative { \hide Score.BarNumber { - c1\melisma bes a g\melismaEnd + c''1\melisma bes a g\melismaEnd f\breve \[ f1\melisma a c\breve d\melismaEnd \] c\longa @@ -917,10 +917,10 @@ definirse como una forma breve muy conveniente: @lilypond[quote,verbatim] ficta = { \once \set suggestAccidentals = ##t } -\score { \relative c'' +\score { \relative \new MensuralVoice { \once \set suggestAccidentals = ##t - bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1 + bes'4 a2 g2 \ficta fis8 \ficta e! fis2 g1 } } @end lilypond @@ -988,13 +988,13 @@ Por ejemplo: @c @end example @lilypond[quote,ragged-right,verbatim] \score { - \relative c' { + \relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -1017,13 +1017,13 @@ por el @code{Mensural_ligature_engraver}, la misma música se transcribe de la siguiente manera: @lilypond[quote,ragged-right] -\relative c' { +\relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -1671,9 +1671,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ b \] + \[ b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1685,9 +1685,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \cavum b \] + \[ \cavum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1699,9 +1699,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \linea b \] + \[ \linea b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1714,9 +1714,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Ascendens - \[ \auctum \ascendens b \] + \[ \auctum \ascendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1729,9 +1729,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Descendens - \[ \auctum \descendens b \] + \[ \auctum \descendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1744,9 +1744,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum - \[ \inclinatum b \] + \[ \inclinatum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1759,9 +1759,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Auctum - \[ \inclinatum \auctum b \] + \[ \inclinatum \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1774,9 +1774,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Parvum - \[ \inclinatum \deminutum b \] + \[ \inclinatum \deminutum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1789,9 +1789,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Virga - \[ \virga b \] + \[ \virga b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1810,9 +1810,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis vel Flexa - \[ b \flexa g \] + \[ b' \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1826,9 +1826,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Descendens - \[ b \flexa \auctum \descendens g \] + \[ b' \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1841,9 +1841,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Ascendens - \[ b \flexa \auctum \ascendens g \] + \[ b' \flexa \auctum \ascendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1856,9 +1856,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Cephalicus - \[ b \flexa \deminutum g \] + \[ b' \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1871,9 +1871,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Podatus vel Pes - \[ g \pes b \] + \[ g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1886,9 +1886,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens - \[ g \pes \auctum \descendens b \] + \[ g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1901,9 +1901,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Ascendens - \[ g \pes \auctum \ascendens b \] + \[ g' \pes \auctum \ascendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1916,9 +1916,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Epiphonus - \[ g \pes \deminutum b \] + \[ g' \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1931,9 +1931,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Initio Debilis - \[ \deminutum g \pes b \] + \[ \deminutum g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1946,9 +1946,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens Initio Debilis - \[ \deminutum g \pes \auctum \descendens b \] + \[ \deminutum g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1968,9 +1968,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus - \[ a \pes b \flexa g \] + \[ a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1983,9 +1983,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens - \[ a \pes b \flexa \auctum \descendens g \] + \[ a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1998,9 +1998,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus - \[ a \pes b \flexa \deminutum g \] + \[ a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2013,9 +2013,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Initio Debilis - \[ \deminutum a \pes b \flexa g \] + \[ \deminutum a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2028,9 +2028,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens Initio Debilis - \[ \deminutum a \pes b \flexa \auctum \descendens g \] + \[ \deminutum a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2043,9 +2043,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus Initio Debilis - \[ \deminutum a \pes b \flexa \deminutum g \] + \[ \deminutum a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2058,9 +2058,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus - \[ a \flexa g \pes b \] + \[ a' \flexa g \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2073,9 +2073,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Auctus Descendens - \[ a \flexa g \pes \auctum \descendens b \] + \[ a' \flexa g \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2088,9 +2088,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Deminutus - \[ a \flexa g \pes \deminutum b \] + \[ a' \flexa g \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2103,9 +2103,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus - \[ \virga b \inclinatum a \inclinatum g \] + \[ \virga b' \inclinatum a \inclinatum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2118,9 +2118,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Auctus - \[ \virga b \inclinatum a \inclinatum \auctum g \] + \[ \virga b' \inclinatum a \inclinatum \auctum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2133,9 +2133,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Deminutus - \[ \virga b \inclinatum a \inclinatum \deminutum g \] + \[ \virga b' \inclinatum a \inclinatum \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2148,9 +2148,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus - \[ g \pes a \virga b \] + \[ g' \pes a \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2163,9 +2163,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Auctus Descendens - \[ g \pes a \pes \auctum \descendens b \] + \[ g' \pes a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2178,9 +2178,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Deminutus - \[ g \pes a \pes \deminutum b \] + \[ g' \pes a \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2200,9 +2200,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma - \[ g \pes \quilisma a \pes b \] + \[ g' \pes \quilisma a \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2215,9 +2215,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma Pes Auctus Descendens - \[ g \quilisma a \pes \auctum \descendens b \] + \[ g' \quilisma a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2230,9 +2230,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Oriscus - \[ \oriscus b \] + \[ \oriscus b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2245,9 +2245,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus - \[ \oriscus g \pes \virga b \] + \[ \oriscus g' \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2260,9 +2260,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus Auctus Descendens - \[ \oriscus g \pes \auctum \descendens b \] + \[ \oriscus g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2275,9 +2275,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus - \[ g \oriscus a \pes \virga b \] + \[ g' \oriscus a \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2290,9 +2290,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus Auctus Descendens - \[ g \oriscus a \pes \auctum \descendens b \] + \[ g' \oriscus a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2305,9 +2305,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha - \[ \stropha b \] + \[ \stropha b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2320,9 +2320,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha Aucta - \[ \stropha \auctum b \] + \[ \stropha \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2335,9 +2335,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Bistropha - \[ \stropha b \stropha b \] + \[ \stropha b' \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2350,9 +2350,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Tristropha - \[ \stropha b \stropha b \stropha b \] + \[ \stropha b' \stropha b \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2365,9 +2365,9 @@ Formas @b{Básica} y @emph{Licuescente} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Trigonus - \[ \stropha b \stropha b \stropha a \] + \[ \stropha b' \stropha b \stropha a \] } \layout { \neumeDemoLayout } } @@ -2824,10 +2824,10 @@ plicas: @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" \set Score.timing = ##f - c\breve \hide NoteHead c c c c c + c'\breve \hide NoteHead c c c c c \undo \hide NoteHead \override Stem.transparent = ##f \stemUp c4 b4 a \hide Stem c2 c4 \divisioMaior @@ -2877,10 +2877,10 @@ más ajustes posteriormente, esto se puede hacer fácilmente con @q{notas} @code{s}. @lilypond[verbatim,quote] -spiritus = \relative c' { +spiritus = \relative { \time 1/4 \override Lyrics.LyricText.X-extent = #'(0 . 3) - d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e + d'4 \tuplet 3/2 { f8 a g } g a a4 g f8 e d4 f8 g g8 d f g a g f4 g8 a a4 s \tuplet 3/2 { g8 f d } e f g a g4 } diff --git a/Documentation/es/notation/changing-defaults.itely b/Documentation/es/notation/changing-defaults.itely index dc5864df41..42f4101a88 100644 --- a/Documentation/es/notation/changing-defaults.itely +++ b/Documentation/es/notation/changing-defaults.itely @@ -4900,9 +4900,9 @@ tempoPadded = \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/es/notation/editorial.itely b/Documentation/es/notation/editorial.itely index 164da9219c..fb73448789 100644 --- a/Documentation/es/notation/editorial.itely +++ b/Documentation/es/notation/editorial.itely @@ -624,11 +624,11 @@ especificar la duración entre las lÃneas de rejilla. \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c4. d8 e8 f g4 + c''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { \clef bass \stemDown c4 g' f e diff --git a/Documentation/es/notation/fretted-strings.itely b/Documentation/es/notation/fretted-strings.itely index 9be1407341..9b882c3e68 100644 --- a/Documentation/es/notation/fretted-strings.itely +++ b/Documentation/es/notation/fretted-strings.itely @@ -309,9 +309,9 @@ forma predeterminada. Lo mismo rige para la casilla de segunda vez de una repetición. @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { @@ -349,9 +349,9 @@ La instrucción @code{\hideSplitTiedTabNotes} cancela el comportamiento de imprimir los números de traste entre paréntesis: @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { { g4 f2. } @@ -1761,10 +1761,10 @@ o armónicos. Los armónicos se suelen explicar de forma más completa con un marcado de texto. @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \clef "treble_8" \override Staff.NoteHead.style = #'harmonic-mixed - d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 + d'^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 } @end lilypond diff --git a/Documentation/es/notation/input.itely b/Documentation/es/notation/input.itely index e91700f76a..465b7196b4 100644 --- a/Documentation/es/notation/input.itely +++ b/Documentation/es/notation/input.itely @@ -689,10 +689,10 @@ como aquÃ: } \score { - \new Staff \relative g, { + \new Staff \relative { \clef bass \key g \major - \repeat unfold 2 { g16( d' b') a b d, b' d, } | + \repeat unfold 2 { g,16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { @@ -701,7 +701,7 @@ como aquÃ: } \score { - \new Staff \relative b { + \new Staff \relative { \clef bass \key g \major \partial 16 b16 | diff --git a/Documentation/es/notation/rhythms.itely b/Documentation/es/notation/rhythms.itely index abede20ed3..46c091ead7 100644 --- a/Documentation/es/notation/rhythms.itely +++ b/Documentation/es/notation/rhythms.itely @@ -1119,9 +1119,9 @@ argumento opcional: @lilypond[quote,verbatim] \score { \new Staff { - \relative c' { + \relative { \time #'(2 2 3) 7/8 - \repeat unfold 7 { c8 } | + \repeat unfold 7 { c'8 } | \time #'(3 2 2) 7/8 \repeat unfold 7 { c8 } | } @@ -1188,8 +1188,8 @@ compás se pueden restaurar a los valores originales: @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1759,9 +1759,9 @@ La construcción más simple es una lista única, en la que el y los anteriores son los numeradores. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1770,14 +1770,14 @@ adicionales. Asimismo, los ajustes de barrado se ajustarán dependiendo de los valores. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2174,10 +2174,10 @@ más bajo, se aplican los ajustes del contexto circundante. } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> @@ -3754,9 +3754,9 @@ hasta 5/8, acortando ese compás en 1/8. Entonces, la siguiente lÃnea divisoria cae en 9/8 en vez de hacerlo en 5/4. @lilypond[quote,verbatim] -\new Voice \relative c' { +\new Voice \relative { \set Timing.measureLength = #(ly:make-moment 5/4) - c1 c4 | + c'1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5/8) diff --git a/Documentation/es/notation/simultaneous.itely b/Documentation/es/notation/simultaneous.itely index a14619123a..88810dd1ba 100644 --- a/Documentation/es/notation/simultaneous.itely +++ b/Documentation/es/notation/simultaneous.itely @@ -202,9 +202,9 @@ que los eventos de ese tipo ya estén presentes en el propio acorde @code{q}. @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/es/notation/staff.itely b/Documentation/es/notation/staff.itely index 7142b47144..acb675740e 100644 --- a/Documentation/es/notation/staff.itely +++ b/Documentation/es/notation/staff.itely @@ -968,14 +968,14 @@ valores del sangrado, @code{indent}, y del sangrado corto, consulte @ref{Variables de paper para desplazamientos y sangrados,,Variables de @code{@bs{}paper} para desplazamientos y sangrados}. @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/es/notation/vocal.itely b/Documentation/es/notation/vocal.itely index c5212cbfc9..099d4a9af9 100644 --- a/Documentation/es/notation/vocal.itely +++ b/Documentation/es/notation/vocal.itely @@ -255,13 +255,13 @@ ver más detalles, consulte @ref{Duración automática de las sÃlabas}. << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -493,13 +493,13 @@ He aquà un ejemplo que muestra su uso: << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % takes durations and alignment from notes in "one" initially @@ -1465,8 +1465,8 @@ que se escribe a continuación.} \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1515,9 +1515,9 @@ manuales. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1553,8 +1553,8 @@ Cuando la sección repetida tiene textos distintos, no se puede usar \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1587,8 +1587,8 @@ manualmente. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1660,11 +1660,11 @@ contextos de voz y adjuntando la letra a estos contextos especÃficos: \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1951,9 +1951,9 @@ rápida ignore el melisma. Esto se consigue estableciendo @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -2042,9 +2042,9 @@ propiedad @code{associatedVoice}: @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2943,8 +2943,8 @@ He aquà un ejemplo que ilustra cómo puede hacerse. @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/es/notation/world.itely b/Documentation/es/notation/world.itely index d8b2259138..64ff7e8296 100644 --- a/Documentation/es/notation/world.itely +++ b/Documentation/es/notation/world.itely @@ -220,9 +220,9 @@ alterar mediante este método. @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { +\relative { \set Staff.extraNatural = ##f - dod dob dosd \dwn dob dobsb dodsd do do + dod' dob dosd \dwn dob dobsb dodsd do do } @end lilypond @@ -424,13 +424,13 @@ tratamos en esta sección. @lilypond[quote,verbatim] \include "arabic.ly" \score { - \relative re' { + \relative { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re'4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely index 412813cd0a..ef13eaab77 100644 --- a/Documentation/essay/engraving.itely +++ b/Documentation/essay/engraving.itely @@ -462,22 +462,22 @@ global = { \new Staff \with { \magnifyStaff #2/3 } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 <c f aes c> + s4. s8 r8 r16 <c' f aes c> <c f aes c>4.^> <c ees g>8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -555,7 +555,7 @@ How do we actually make formatting decisions? In other words, which of the three configurations should we choose for the following slur? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -595,7 +595,7 @@ has given each one a score in @q{ugly points}. The first example gets 15.39 points for grazing one of the noteheads: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -609,7 +609,7 @@ side, plus another 2 points because the slur ascends while the melody descends for a total of 13.08 ugly points: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -773,24 +773,24 @@ measures 28--29, as shown here with Finale first and LilyPond second: @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -1078,16 +1078,16 @@ consider a more complicated musical example: \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \tuplet 7/6 { g8 g g g g g g } + \tuplet 7/6 { g''8 g g g g g g } \oneVoice r4 <b,, fis' g bes> r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 + c'4 \tuplet 5/4 { <c ees>8 f g \change Staff = "LH" \oneVoice @@ -1364,8 +1364,8 @@ chord has all directions up (right). @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown <e g b>4_>-\arpeggio + \relative { + \stemDown <e' g b>4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp <e g b>4^>-\arpeggio } @@ -1434,11 +1434,11 @@ note head symbol is changed during the music fragment. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - <d f g>4 + <d' f g>4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1653,9 +1653,9 @@ LilyPond, version @version{}: @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d ees4 ~ 16 d c bes a4 r8 ees'16 d @@ -1664,9 +1664,9 @@ partI = \relative c' { a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ 2 r8 d' ees g, @@ -1674,16 +1674,16 @@ partII = \relative c' { bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a diff --git a/Documentation/extending/programming-interface.itely b/Documentation/extending/programming-interface.itely index dd9094e435..ebdfe0df38 100644 --- a/Documentation/extending/programming-interface.itely +++ b/Documentation/extending/programming-interface.itely @@ -1257,11 +1257,11 @@ desaturate = (for-each revert-color '(NoteHead Stem Beam))) #}) -\relative g' { +\relative { \override NoteHead.color = #darkblue \override Stem.color = #darkblue \override Beam.color = #darkblue - g8 a b c + g'8 a b c \desaturate { d c b a } g b d b g2 } @@ -1367,11 +1367,11 @@ calling the function that is the usual callback for that property, which can by found in the Internals Reference or the file 'define-grobs.scm': @example -\relative c'' @{ +\relative @{ \override Flag.X-offset = #(lambda (flag) (let ((default (ly:flag::calc-x-offset flag))) (* default 4.0))) - c4. d8 a4. g8 + c''4. d8 a4. g8 @} @end example @@ -1494,10 +1494,10 @@ of the broken tie is repositioned. (eq? (car (last-pair siblings)) grob)) (ly:grob-set-property! grob 'extra-offset '(-2 . 5))))) -\relative c'' { +\relative { \override Tie.after-line-breaking = #my-callback - c1 ~ \break + c''1 ~ \break c2 ~ 2 } @end lilypond diff --git a/Documentation/extending/scheme-tutorial.itely b/Documentation/extending/scheme-tutorial.itely index eaffe70a48..32915e07b1 100644 --- a/Documentation/extending/scheme-tutorial.itely +++ b/Documentation/extending/scheme-tutorial.itely @@ -1582,9 +1582,9 @@ tempoPadded = #(define-music-function (parser location padding tempotext) \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/fr/essay/engraving.itely b/Documentation/fr/essay/engraving.itely index 00d08df3fa..7c7526b84a 100644 --- a/Documentation/fr/essay/engraving.itely +++ b/Documentation/fr/essay/engraving.itely @@ -497,22 +497,22 @@ global = { \new Staff \with { \magnifyStaff #2/3 } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 <c f aes c> + s4. s8 r8 r16 <c' f aes c> <c f aes c>4.^> <c ees g>8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -606,7 +606,7 @@ l'image suivante, laquelle de ces trois configurations devrions-nous choisir pour formater la liaison ? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -651,7 +651,7 @@ de laideur ». Le premier essai se voit attribuer 15,39 points notamment pour l'effleurement de la tête de note. @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -667,7 +667,7 @@ redescend, ce qui entraîne une pénalité de 2 points. Ceci nous fait un total de 13,08 points de laideur. @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -842,24 +842,24 @@ première image -- se situent dans les mesures 28 et 29 : @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -1161,16 +1161,16 @@ musique se complique : \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \tuplet 7/6 {g8 g g g g g g} + \tuplet 7/6 {g''8 g g g g g g} \oneVoice r4 <b,, fis' g bes> r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 + c'4 \tuplet 5/4 { <c ees>8 f g \change Staff = "LH" \oneVoice @@ -1465,8 +1465,8 @@ vers le haut (ou la droite) pour le second. @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown <e g b>4_>-\arpeggio + \relative { + \stemDown <e' g b>4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp <e g b>4^>-\arpeggio } @@ -1535,11 +1535,11 @@ musical : ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - <d f g>4 + <d' f g>4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1764,9 +1764,9 @@ LilyPond, version @version{} : @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d ees4 ~ 16 d c bes a4 r8 ees'16 d @@ -1775,9 +1775,9 @@ partI = \relative c' { a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ 2 r8 d' ees g, @@ -1785,16 +1785,16 @@ partII = \relative c' { bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a diff --git a/Documentation/fr/extending/programming-interface.itely b/Documentation/fr/extending/programming-interface.itely index 0a32fae41a..3589aa8ffc 100644 --- a/Documentation/fr/extending/programming-interface.itely +++ b/Documentation/fr/extending/programming-interface.itely @@ -1380,11 +1380,11 @@ desaturate = (for-each revert-color '(NoteHead Stem Beam))) #}) -\relative g' { +\relative { \override NoteHead.color = #darkblue \override Stem.color = #darkblue \override Beam.color = #darkblue - g8 a b c + g'8 a b c \desaturate { d c b a } g b d b g2 } @@ -1498,11 +1498,11 @@ et dans le fichier @file{define-grobs.scm} --, pourra accéder à la valeur usuelle de la propriété : @example -\relative c'' @{ +\relative @{ \override Flag.X-offset = #(lambda (flag) (let ((default (ly:flag::calc-x-offset flag))) (* default 4.0))) - c4. d8 a4. g8 + c''4. d8 a4. g8 @} @end example @@ -1634,10 +1634,10 @@ rehaussé. (eq? (car (last-pair siblings)) grob)) (ly:grob-set-property! grob 'extra-offset '(-2 . 5))))) -\relative c'' { +\relative { \override Tie.after-line-breaking = #my-callback - c1 ~ \break + c''1 ~ \break c2 ~ 2 } @end lilypond diff --git a/Documentation/fr/extending/scheme-tutorial.itely b/Documentation/fr/extending/scheme-tutorial.itely index e9539c77f9..b9cdb23505 100644 --- a/Documentation/fr/extending/scheme-tutorial.itely +++ b/Documentation/fr/extending/scheme-tutorial.itely @@ -1729,9 +1729,9 @@ tempoPadded = #(define-music-function (parser location padding tempotext) \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/fr/learning/common-notation.itely b/Documentation/fr/learning/common-notation.itely index 911ab5aa07..618ed52c6c 100644 --- a/Documentation/fr/learning/common-notation.itely +++ b/Documentation/fr/learning/common-notation.itely @@ -1278,11 +1278,11 @@ sur l'alignement de paroles à une mélodie. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1334,20 +1334,20 @@ L'exemple suivant est extrait de @emph{Judas Macchabée} de Händel. @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let flee -- cy flocks the hills a -- dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 4a77711b0d..1d8bb6b399 100644 --- a/Documentation/fr/learning/fundamental.itely +++ b/Documentation/fr/learning/fundamental.itely @@ -865,12 +865,12 @@ que vous ne comprendriez pas. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1037,18 +1037,18 @@ annotations, liaisons de prolongation ou de phrasé, et sur les nuances. @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1068,10 +1068,10 @@ maintenant dans un seul contexte de voix, ce qui permet d'ajouter une liaison de phrasé à l'ensemble. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % The following notes are homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1131,11 +1131,11 @@ silences invisibles pour sauter les moments où il n'y a rien dans cette voix. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e2) | + c'16^( d e f g4 f e | d2 e2) | } % Initiate second voice \new Voice { @@ -1237,10 +1237,10 @@ la voix en question. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1782,13 +1782,13 @@ contexte n'a pas été spécifié. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c4 c + c''4 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d4 d + d'4 d } >> @end lilypond @@ -1832,9 +1832,9 @@ Voici comment supprimer les bécarres supplémentaires pour une portée : \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1847,9 +1847,9 @@ et pour toutes les portées : \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2092,15 +2092,15 @@ tessiture de cette voix sera calculée : \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2117,15 +2117,15 @@ les notes de toutes les voix de la portée : } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2451,18 +2451,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2687,17 +2687,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3101,9 +3101,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \centerText c4.^"hi there!" d8 e f g d | c4.\fthenp b8 c4 c-. | @@ -3124,9 +3124,9 @@ précédent sans aucun identificateur. C'est beaucoup plus laborieux à lire, et particulièrement la dernière ligne. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.self-alignment-X = #CENTER c4.^"hi there!" d8 e f g d | c4._\markup @{ diff --git a/Documentation/fr/learning/tutorial.itely b/Documentation/fr/learning/tutorial.itely index 20ed5e1fac..966449fd2d 100644 --- a/Documentation/fr/learning/tutorial.itely +++ b/Documentation/fr/learning/tutorial.itely @@ -464,10 +464,10 @@ La commande @code{\tempo} permet de stipuler aussi bien le @emph{tempo} que le métronome : @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a diff --git a/Documentation/fr/learning/tweaks.itely b/Documentation/fr/learning/tweaks.itely index 56514c1050..fc80e7cdff 100644 --- a/Documentation/fr/learning/tweaks.itely +++ b/Documentation/fr/learning/tweaks.itely @@ -4148,10 +4148,10 @@ Nous montrons ci-dessous le résultat des deux méthodes : @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4170,10 +4170,10 @@ Nous montrons ci-dessous le résultat des deux méthodes : @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \omit Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4322,9 +4322,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4368,9 +4368,9 @@ sous @file{musique.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4390,9 +4390,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4471,9 +4471,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4546,9 +4546,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4775,7 +4775,7 @@ fonction de leur position sur la portée. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/fr/notation/ancient.itely b/Documentation/fr/notation/ancient.itely index 4e5ec39e4e..cdcd978fac 100644 --- a/Documentation/fr/notation/ancient.itely +++ b/Documentation/fr/notation/ancient.itely @@ -231,8 +231,8 @@ spécifique. Par défaut, le graveur @code{LigatureBracket} place un simple crochet au dessus de la ligature : @lilypond[quote,ragged-right,verbatim] -\relative c'' { - \[ g c, a' f d' \] +\relative { + \[ g' c, a' f d' \] a g f \[ e f a g \] } @@ -389,9 +389,9 @@ lancer dans la saisie de votre chant comme ci-après : @lilypond[quote,ragged-right,verbatim] \score { << - \new MensuralVoice = "discantus" \relative c'' { + \new MensuralVoice = "discantus" \relative { \hide Score.BarNumber { - c1\melisma bes a g\melismaEnd + c''1\melisma bes a g\melismaEnd f\breve \[ f1\melisma a c\breve d\melismaEnd \] c\longa @@ -931,10 +931,10 @@ peut tout à fait faire l'objet d'un raccourci : @lilypond[quote,verbatim] ficta = { \once \set suggestAccidentals = ##t } -\score { \relative c'' +\score { \relative \new MensuralVoice { \once \set suggestAccidentals = ##t - bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1 + bes'4 a2 g2 \ficta fis8 \ficta e! fis2 g1 } } @end lilypond @@ -1001,13 +1001,13 @@ Par exemple, @c @end example @lilypond[quote,ragged-right,verbatim] \score { - \relative c' { + \relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -1029,13 +1029,13 @@ Si on ne remplace pas le @code{Ligature_bracket_engraver} par le @code{Mensural_ligature_engraver}, on obtient @lilypond[quote,ragged-right] -\relative c' { +\relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -1677,9 +1677,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ b \] + \[ b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1691,9 +1691,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \cavum b \] + \[ \cavum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1705,9 +1705,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \linea b \] + \[ \linea b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1720,9 +1720,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Ascendens - \[ \auctum \ascendens b \] + \[ \auctum \ascendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1735,9 +1735,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Descendens - \[ \auctum \descendens b \] + \[ \auctum \descendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1750,9 +1750,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum - \[ \inclinatum b \] + \[ \inclinatum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1765,9 +1765,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Auctum - \[ \inclinatum \auctum b \] + \[ \inclinatum \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1780,9 +1780,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Parvum - \[ \inclinatum \deminutum b \] + \[ \inclinatum \deminutum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1795,9 +1795,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Virga - \[ \virga b \] + \[ \virga b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1816,9 +1816,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis vel Flexa - \[ b \flexa g \] + \[ b' \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1831,9 +1831,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Descendens - \[ b \flexa \auctum \descendens g \] + \[ b' \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1845,9 +1845,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Ascendens - \[ b \flexa \auctum \ascendens g \] + \[ b' \flexa \auctum \ascendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1860,9 +1860,9 @@ LilyPond} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Cephalicus - \[ b \flexa \deminutum g \] + \[ b' \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1875,9 +1875,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Podatus vel Pes - \[ g \pes b \] + \[ g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1890,9 +1890,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens - \[ g \pes \auctum \descendens b \] + \[ g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1905,9 +1905,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Ascendens - \[ g \pes \auctum \ascendens b \] + \[ g' \pes \auctum \ascendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1920,9 +1920,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Epiphonus - \[ g \pes \deminutum b \] + \[ g' \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1935,9 +1935,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Initio Debilis - \[ \deminutum g \pes b \] + \[ \deminutum g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1950,9 +1950,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens Initio Debilis - \[ \deminutum g \pes \auctum \descendens b \] + \[ \deminutum g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1972,9 +1972,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus - \[ a \pes b \flexa g \] + \[ a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1987,9 +1987,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens - \[ a \pes b \flexa \auctum \descendens g \] + \[ a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2002,9 +2002,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus - \[ a \pes b \flexa \deminutum g \] + \[ a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2017,9 +2017,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Initio Debilis - \[ \deminutum a \pes b \flexa g \] + \[ \deminutum a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2032,9 +2032,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens Initio Debilis - \[ \deminutum a \pes b \flexa \auctum \descendens g \] + \[ \deminutum a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2047,9 +2047,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus Initio Debilis - \[ \deminutum a \pes b \flexa \deminutum g \] + \[ \deminutum a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2062,9 +2062,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus - \[ a \flexa g \pes b \] + \[ a' \flexa g \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2077,9 +2077,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Auctus Descendens - \[ a \flexa g \pes \auctum \descendens b \] + \[ a' \flexa g \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2092,9 +2092,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Deminutus - \[ a \flexa g \pes \deminutum b \] + \[ a' \flexa g \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2107,9 +2107,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus - \[ \virga b \inclinatum a \inclinatum g \] + \[ \virga b' \inclinatum a \inclinatum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2122,9 +2122,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Auctus - \[ \virga b \inclinatum a \inclinatum \auctum g \] + \[ \virga b' \inclinatum a \inclinatum \auctum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2137,9 +2137,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Deminutus - \[ \virga b \inclinatum a \inclinatum \deminutum g \] + \[ \virga b' \inclinatum a \inclinatum \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2152,9 +2152,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus - \[ g \pes a \virga b \] + \[ g' \pes a \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2167,9 +2167,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Auctus Descendens - \[ g \pes a \pes \auctum \descendens b \] + \[ g' \pes a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2182,9 +2182,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Deminutus - \[ g \pes a \pes \deminutum b \] + \[ g' \pes a \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2204,9 +2204,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma - \[ g \pes \quilisma a \pes b \] + \[ g' \pes \quilisma a \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2219,9 +2219,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma Pes Auctus Descendens - \[ g \quilisma a \pes \auctum \descendens b \] + \[ g' \quilisma a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2234,9 +2234,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Oriscus - \[ \oriscus b \] + \[ \oriscus b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2249,9 +2249,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus - \[ \oriscus g \pes \virga b \] + \[ \oriscus g' \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2264,9 +2264,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus Auctus Descendens - \[ \oriscus g \pes \auctum \descendens b \] + \[ \oriscus g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2279,9 +2279,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus - \[ g \oriscus a \pes \virga b \] + \[ g' \oriscus a \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2294,9 +2294,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus Auctus Descendens - \[ g \oriscus a \pes \auctum \descendens b \] + \[ g' \oriscus a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2309,9 +2309,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha - \[ \stropha b \] + \[ \stropha b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2324,9 +2324,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha Aucta - \[ \stropha \auctum b \] + \[ \stropha \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2339,9 +2339,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Bistropha - \[ \stropha b \stropha b \] + \[ \stropha b' \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2354,9 +2354,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Tristropha - \[ \stropha b \stropha b \stropha b \] + \[ \stropha b' \stropha b \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2369,9 +2369,9 @@ LilyPond} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Trigonus - \[ \stropha b \stropha b \stropha a \] + \[ \stropha b' \stropha b \stropha a \] } \layout { \neumeDemoLayout } } @@ -2867,11 +2867,11 @@ ou @code{\override Stem.length = #0} puis, en cas de besoin, recourir @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" \set Score.timing = ##f \hide Stem - c\breve \hide NoteHead c c c c c + c'\breve \hide NoteHead c c c c c \undo \hide NoteHead \undo \hide Stem \stemUp c4 b4 a \hide Stem c2 c4 \divisioMaior @@ -2919,10 +2919,10 @@ syllabes sous forme de @emph{markup}. Des ajustements supplémentaires peuvent se réaliser avec des @qq{notes silencieuses} (@code{s}). @lilypond[verbatim,quote] -spiritus = \relative c' { +spiritus = \relative { \time 1/4 \override Lyrics.LyricText.X-extent = #'(0 . 3) - d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e + d'4 \tuplet 3/2 { f8 a g } g a a4 g f8 e d4 f8 g g8 d f g a g f4 g8 a a4 s \tuplet 3/2 { g8 f d } e f g a g4 } diff --git a/Documentation/fr/notation/changing-defaults.itely b/Documentation/fr/notation/changing-defaults.itely index 3a2185904a..1250cfdfb1 100644 --- a/Documentation/fr/notation/changing-defaults.itely +++ b/Documentation/fr/notation/changing-defaults.itely @@ -5035,9 +5035,9 @@ tempoPadded = \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/fr/notation/editorial.itely b/Documentation/fr/notation/editorial.itely index e3781ef78a..32231ad168 100644 --- a/Documentation/fr/notation/editorial.itely +++ b/Documentation/fr/notation/editorial.itely @@ -838,11 +838,11 @@ spécifie quant à elle l'espace de temps entre chaque ligne. \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c'4. d8 e8 f g4 + c'''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { %% centre les lignes guides verticalement \clef bass \stemDown diff --git a/Documentation/fr/notation/fretted-strings.itely b/Documentation/fr/notation/fretted-strings.itely index 6e3d04139a..51047ab17d 100644 --- a/Documentation/fr/notation/fretted-strings.itely +++ b/Documentation/fr/notation/fretted-strings.itely @@ -330,9 +330,9 @@ ligne, la note est répétée, entre parenthèses. Il en va de même pour la seconde alternative d'une répétition. @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { @@ -370,9 +370,9 @@ La commande @code{\hideSplitTiedTabNotes} permet d'éviter d'imprimer ces cases entre parenthèses. @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { { g4 f2. } @@ -1755,10 +1755,10 @@ Des têtes de note spéciales peuvent servir à indiquer les notes détaillés grâce à des indications textuelles. @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \clef "treble_8" \override Staff.NoteHead.style = #'harmonic-mixed - d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 + d'^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 } @end lilypond diff --git a/Documentation/fr/notation/input.itely b/Documentation/fr/notation/input.itely index 6c33698c67..44596972c3 100644 --- a/Documentation/fr/notation/input.itely +++ b/Documentation/fr/notation/input.itely @@ -679,10 +679,10 @@ pour définir les champs @code{piece} et @code{opus}, comme ici : } \score { - \new Staff \relative g, { + \new Staff \relative { \clef bass \key g \major - \repeat unfold 2 { g16( d' b') a b d, b' d, } | + \repeat unfold 2 { g,16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { @@ -691,7 +691,7 @@ pour définir les champs @code{piece} et @code{opus}, comme ici : } \score { - \new Staff \relative b { + \new Staff \relative { \clef bass \key g \major \partial 16 b16 | diff --git a/Documentation/fr/notation/rhythms.itely b/Documentation/fr/notation/rhythms.itely index 879200886a..1763877496 100644 --- a/Documentation/fr/notation/rhythms.itely +++ b/Documentation/fr/notation/rhythms.itely @@ -1133,9 +1133,9 @@ la commande @code{\time} à l'aide d'un premier argument : @lilypond[quote,verbatim] \score { \new Staff { - \relative c' { + \relative { \time #'(2 2 3) 7/8 - \repeat unfold 7 { c8 } | + \repeat unfold 7 { c'8 } | \time #'(3 2 2) 7/8 \repeat unfold 7 { c8 } | } @@ -1196,8 +1196,8 @@ métrique : @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1755,9 +1755,9 @@ laquelle le @emph{dernier} nombre indique le @qq{dénominateur} de la métrique, les précédents représentent le @qq{numérateur}. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1766,14 +1766,14 @@ entendu, les ligatures automatiques s'ajusteront aux différentes valeurs. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2203,10 +2203,10 @@ supérieur s'appliqueront. } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> @@ -3715,9 +3715,9 @@ troisième mesure, nous avançons de 1/8, en assignant 5/8 à La barre de mesure suivante tombera donc à 9/8 et non à  5/8. @lilypond[quote,verbatim] -\new Voice \relative c' { +\new Voice \relative { \set Timing.measureLength = #(ly:make-moment 5/4) - c1 c4 | + c'1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5/8) diff --git a/Documentation/fr/notation/simultaneous.itely b/Documentation/fr/notation/simultaneous.itely index 64b0226ffd..39dc79e56c 100644 --- a/Documentation/fr/notation/simultaneous.itely +++ b/Documentation/fr/notation/simultaneous.itely @@ -208,9 +208,9 @@ supplémentaire qui recense les @var{types d'événement} à répéter et qui seraient absents de l'accord construit par un @code{q}. @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/fr/notation/staff.itely b/Documentation/fr/notation/staff.itely index 4a1b7f4463..61a5afd88d 100644 --- a/Documentation/fr/notation/staff.itely +++ b/Documentation/fr/notation/staff.itely @@ -958,14 +958,14 @@ d'augmenter les retraits -- @emph{indent} -- au sein du bloc reportez-vous au chapitre @ref{Variables d'indentation et de décalage}. @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/fr/notation/vocal.itely b/Documentation/fr/notation/vocal.itely index c99a4838c8..c514b10e5c 100644 --- a/Documentation/fr/notation/vocal.itely +++ b/Documentation/fr/notation/vocal.itely @@ -260,13 +260,13 @@ circonstances, une mélodie associée, grâce aux commandes << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -486,13 +486,13 @@ Voici un exemple de cette manière de procéder : << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % takes durations and alignment from notes in "one" initially @@ -1440,8 +1440,8 @@ note quelle qu'en soit la durée.} \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1486,9 +1486,9 @@ temporairement la détection automatique de mélismes et insérer des \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1523,8 +1523,8 @@ insérer des blancs : \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1556,8 +1556,8 @@ doivent être insérées manuellement : \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1630,11 +1630,11 @@ d'une fois sur l'autre : \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1912,9 +1912,9 @@ laquelle elle s'appliquera : @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -2009,9 +2009,9 @@ modifie la propriété @code{associatedVoice}. Dans cet exemple, @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2907,8 +2907,8 @@ Voici une illustration de tout ce que nous venons de voir : @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/fr/notation/world.itely b/Documentation/fr/notation/world.itely index 4cf8044969..ae8dced8c0 100644 --- a/Documentation/fr/notation/world.itely +++ b/Documentation/fr/notation/world.itely @@ -216,9 +216,9 @@ l'aspect du demi-bémol dans l'armure. @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { +\relative { \set Staff.extraNatural = ##f - dod dob dosd \dwn dob dobsb dodsd do do + dod' dob dosd \dwn dob dobsb dodsd do do } @end lilypond @@ -422,13 +422,13 @@ intermédiaires et des modes inhabituels traités dans ce chapitre. @lilypond[quote,verbatim] \include "arabic.ly" \score { - \relative re' { + \relative { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re'4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 diff --git a/Documentation/hu/essay/engraving.itely b/Documentation/hu/essay/engraving.itely index 618ec88a10..223f9606e1 100644 --- a/Documentation/hu/essay/engraving.itely +++ b/Documentation/hu/essay/engraving.itely @@ -371,22 +371,22 @@ global = { \new Staff \with { \magnifyStaff #2/3 } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 <c f aes c> + s4. s8 r8 r16 <c' f aes c> <c f aes c>4.^> <c ees g>8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -464,7 +464,7 @@ How do we actually make formatting decisions? In other words, which of the three configurations should we choose for the following slur? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -504,7 +504,7 @@ has given each one a score in @q{ugly points}. The first example gets 15.39 points for grazing one of the noteheads: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -518,7 +518,7 @@ side, plus another 2 points because the slur ascends while the melody descends for a total of 13.08 ugly points: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -682,24 +682,24 @@ measures 28--29, as shown here with Finale first and LilyPond second: @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -987,16 +987,16 @@ consider a more complicated musical example: \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \tuplet 7/6 { g8 g g g g g g } + \tuplet 7/6 { g''8 g g g g g g } \oneVoice r4 <b,, fis' g bes> r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 + c'4 \tuplet 5/4 { <c ees>8 f g \change Staff = "LH" \oneVoice @@ -1273,8 +1273,8 @@ chord has all directions up (right). @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown <e g b>4_>-\arpeggio + \relative { + \stemDown <e' g b>4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp <e g b>4^>-\arpeggio } @@ -1343,11 +1343,11 @@ note head symbol is changed during the music fragment. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - <d f g>4 + <d' f g>4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1562,9 +1562,9 @@ LilyPond, version @version{}: @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d ees4 ~ 16 d c bes a4 r8 ees'16 d @@ -1573,9 +1573,9 @@ partI = \relative c' { a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ 2 r8 d' ees g, @@ -1583,16 +1583,16 @@ partII = \relative c' { bes4. <g b>8 <a c> r <d, g> r <ees g>4 <d fis> d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a diff --git a/Documentation/hu/learning/common-notation.itely b/Documentation/hu/learning/common-notation.itely index 860b5bebbe..b87158f529 100644 --- a/Documentation/hu/learning/common-notation.itely +++ b/Documentation/hu/learning/common-notation.itely @@ -987,11 +987,11 @@ megtanultunk a dallam és szöveg összekapcsolásáról: @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 g4 g a8( b) g4 g4 + d'4 g4 g a8( b) g4 g4 b8( c) d4 d e4 c2 } \addlyrics { @@ -1042,20 +1042,20 @@ mely Händel @notation{Júdás Makkabeus} c. oratóriumából való: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 c([ bes]) a a([ g]) f f'4. b, c4.~ 4 + c''8 c([ bes]) a a([ g]) f f'4. b, c4.~ 4 } \addlyrics { Let flee -- cy flocks the hills a -- dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4 + r8 r4. r4 c'8 a'([ g]) f f([ e]) d e([ d]) c bes'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 ebfff9dc3b..100f69c5a4 100644 --- a/Documentation/hu/learning/fundamental.itely +++ b/Documentation/hu/learning/fundamental.itely @@ -774,12 +774,12 @@ Leginkább viszont akkor van szükségünk többszörös szólamokra, amikor a h @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % 1. szólam \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % 2. szólam { \voiceTwoStyle @@ -952,10 +952,10 @@ The red diamond-shaped notes demonstrate that the main melody is now in a single permitting a phrasing slur to be drawn over them. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % A következÅ‘ hangok monofónok - c16^( d e f + c'16^( d e f % Szimultán rész három szólammal << % Continue the main voice in parallel @@ -1009,11 +1009,11 @@ Létrehozhatunk többszörösen beágyazott polifón szerkezetet is, és ha a sz A szólamokat akkor érdemes Ãgy Ãrni, ha a zene csak egy kis része polifón. Viszont amikor az egész ötvonalas kotta nagyrésze polifón, egyszerűbb, ha többszörös szólamokat használunk mindenütt, -- ritkÃtott hangokkal, hogy átlépjük azokat a részeket, ahol a szólamok üresek. Az alábbi példa ezt mutatja: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e2) | + c'16^( d e f g4 f e | d2 e2) | } % Initiate second voice \new Voice { @@ -1096,10 +1096,10 @@ name assigned to the Voice. @lilypond[quote,verbatim,fragment] << - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \autoBeamOff \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c''4 b8. a16 g4. f8 e4 d c2 } \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. @@ -1814,13 +1814,13 @@ because we omitted the context name. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c4 c + c''4 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d4 d + d'4 d } >> @end lilypond @@ -1862,9 +1862,9 @@ So this turns off extra naturals in one staff: \new Staff \relative { ais'4 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - ais4 aes + ais'4 aes } >> @end lilypond @@ -1877,9 +1877,9 @@ and this turns them off in all staves: \new Staff \relative { ais'4 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - ais4 aes + ais'4 aes } >> @end lilypond @@ -2106,14 +2106,14 @@ range from that voice only: \new Voice \with { \consists "Ambitus_engraver" } - \relative c'' { + \relative { \voiceOne - c a b g + c'' a b g } \new Voice - \relative c' { + \relative { \voiceTwo - c e d f + c' e d f } >> @end lilypond @@ -2129,14 +2129,14 @@ the notes in all the voices on that staff: } << \new Voice - \relative c'' { + \relative { \voiceOne - c a b g + c'' a b g } \new Voice - \relative c' { + \relative { \voiceTwo - c e d f + c' e d f } >> @end lilypond @@ -2444,17 +2444,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -2673,17 +2673,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 + r4 <a' d fis>2 <a e' a>4 <d fis d'>4. <d fis d'>8 <a d a'>2 <g cis g'>4 <a d fis> <a cis e>2 } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 + <d, d'>4 <d d'>2 <cis cis'>4 <b b'>4. <b' b'>8 <fis fis'>2 <e e'>4 <d d'> <a' a'>2 } @@ -3016,9 +3016,9 @@ macros, or user-defined commands) for tweaks: dolce = \markup { \italic \bold dolce } padText = { \once \override TextScript.padding = #5.0 } fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b + c''4._\dolce b8 a8 g a b \padText c4.^"hi there!" d8 e' f g d c,4.\fthenp b8 c4 c-. @@ -3040,9 +3040,9 @@ variables. It's a lot harder to read, especially the last line. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d c,4.\markup @{ \dynamic f \italic \small @{ 2nd @} @@ -3170,7 +3170,7 @@ This command sets the property @code{skipBars} in the this option to the music above, leads to the following result @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 diff --git a/Documentation/hu/usage/running.itely b/Documentation/hu/usage/running.itely index 4b353eafbc..497ce43d0d 100644 --- a/Documentation/hu/usage/running.itely +++ b/Documentation/hu/usage/running.itely @@ -558,8 +558,8 @@ A megoldás a @code{\repeat} és a @code{\relative} parancsok felcserélése, a következÅ‘ módon: @lilypond[quote,verbatim] -\relative c' { - \repeat unfold 2 { c d e f } +\relative { + \repeat unfold 2 { c' d e f } } @end lilypond diff --git a/Documentation/included/gonville.ly b/Documentation/included/gonville.ly index cca61f09b9..be87460f2f 100644 --- a/Documentation/included/gonville.ly +++ b/Documentation/included/gonville.ly @@ -52,10 +52,10 @@ sampleMusic = \relative { } } -\relative c'' +\relative { \set Staff.instrumentName = #"Gonv override" - c2^\trill c + c''2^\trill c \override NoteHead.font-family = #'gonville \override Script.font-family = #'gonville c^\trill c diff --git a/Documentation/it/learning/common-notation.itely b/Documentation/it/learning/common-notation.itely index 612e60e661..15b6b39c69 100644 --- a/Documentation/it/learning/common-notation.itely +++ b/Documentation/it/learning/common-notation.itely @@ -1206,11 +1206,11 @@ finora sull'allineamento del testo con le note. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1263,20 +1263,20 @@ più semplice, ovvero @code{\addlyrics}. Ecco un esempio tratto dal @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 632f9c183e..6eaa3ecf66 100644 --- a/Documentation/it/learning/fundamental.itely +++ b/Documentation/it/learning/fundamental.itely @@ -837,12 +837,12 @@ ignora quel che non capisci. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Prima voce \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Seconda voce { \voiceTwoStyle @@ -1003,18 +1003,18 @@ markup, legature di valore, legature di portamento, e dinamica: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1033,10 +1033,10 @@ principale si trova ora nel contesto di una voce singola, e questo fa sì che sia possibile disegnare una legatura di frase sopra di esse. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1096,11 +1096,11 @@ usando le note spaziatrici per saltare le parti in cui una delle voci è muta, come nel seguente esempio: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1195,10 +1195,10 @@ il nome assegnato alla voce. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1730,13 +1730,13 @@ perché abbiamo omesso il nome del contesto. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1776,9 +1776,9 @@ Quindi in questo modo si disattiva il bequadro su un rigo: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1791,9 +1791,9 @@ e in questo modo si disattiva in tutti i righi: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2026,15 +2026,15 @@ di quella voce soltanto: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2050,15 +2050,15 @@ l'intervallo di tutte le note in tutte le voci di quel pentagramma: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2381,18 +2381,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2616,17 +2616,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3027,9 +3027,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3051,9 +3051,9 @@ precedente senza alcuna variabile. È molto difficile da leggere, soprattutto l'ultima linea. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3183,7 +3183,7 @@ Questo comando imposta la proprietà @code{skipBars} nel contesto opzione alla musica precedente, si arriva al seguente risultato @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/it/learning/tutorial.itely b/Documentation/it/learning/tutorial.itely index ef99b85a44..76ce41f297 100644 --- a/Documentation/it/learning/tutorial.itely +++ b/Documentation/it/learning/tutorial.itely @@ -415,10 +415,10 @@ L' @notation{indicazione di tempo} e l' @notation{indicazione metronomica} si impostano col comando @code{\tempo}: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -467,11 +467,11 @@ La @notation{chiave} si imposta con il comando @code{\clef}: Ecco un piccolo esempio che mostra tutti questi elementi insieme: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/it/learning/tweaks.itely b/Documentation/it/learning/tweaks.itely index 6794a54e96..53abe0f8cf 100644 --- a/Documentation/it/learning/tweaks.itely +++ b/Documentation/it/learning/tweaks.itely @@ -4044,10 +4044,10 @@ il modo migliore è impostare la proprietà @code{stencil} su @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Indicazione di tempo visibile \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Indicazione di tempo invisibile per allungare la fermata nel MIDI \tempo 4=80 @@ -4067,10 +4067,10 @@ il modo migliore è impostare la proprietà @code{stencil} su @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Indicazione di tempo visibile \tempo 4=120 - a4 a a + a'4 a a \once \omit Score.MetronomeMark % Indicazione di tempo invisibile per allungare la fermata nel MIDI \tempo 4=80 @@ -4221,9 +4221,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4264,9 +4264,9 @@ Ora modifichiamo la musica (e salviamo questo file come @file{music.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4286,9 +4286,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4365,9 +4365,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4439,9 +4439,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4658,7 +4658,7 @@ note in base alla loro posizione sul rigo. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Fa sì che il colore sia preso dalla procedura color-notehead \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/it/notation/editorial.itely b/Documentation/it/notation/editorial.itely index 3fdc1c3be8..0a84b9eedf 100644 --- a/Documentation/it/notation/editorial.itely +++ b/Documentation/it/notation/editorial.itely @@ -794,11 +794,11 @@ Le linee si estendono a partire dalle linee centrali di ciascun rigo. \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c4. d8 e8 f g4 + c''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { \clef bass \stemDown c4 g' f e diff --git a/Documentation/it/notation/rhythms.itely b/Documentation/it/notation/rhythms.itely index 8af419ab2b..ff76867748 100644 --- a/Documentation/it/notation/rhythms.itely +++ b/Documentation/it/notation/rhythms.itely @@ -1107,9 +1107,9 @@ Si può sovrascrivere il valore predefinito di @code{beatStructure} nel comando @lilypond[quote,verbatim] \score { \new Staff { - \relative c' { + \relative { \time #'(2 2 3) 7/8 - \repeat unfold 7 { c8 } | + \repeat unfold 7 { c'8 } | \time #'(3 2 2) 7/8 \repeat unfold 7 { c8 } | } @@ -1172,8 +1172,8 @@ essere ripristinati ai valori originali: @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1720,9 +1720,9 @@ indica il numero inferiore dell'indicazione di tempo e i numeri precedenti indicano i numeri superiori del segno di tempo. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1731,14 +1731,14 @@ di disposizione automatica delle travature varieranno a seconda di questi valori. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2160,10 +2160,10 @@ contiene. } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> @@ -3679,9 +3679,9 @@ di 1/8 fino a 5/8, diminuendo quella misura di 1/8. Quindi la stanghetta successiva si troverà a 9/8 invece che a 5/4. @lilypond[quote,verbatim] -\new Voice \relative c' { +\new Voice \relative { \set Timing.measureLength = #(ly:make-moment 5/4) - c1 c4 | + c'1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5/8) diff --git a/Documentation/it/notation/simultaneous.itely b/Documentation/it/notation/simultaneous.itely index cd1fd6d465..bc7761b76f 100644 --- a/Documentation/it/notation/simultaneous.itely +++ b/Documentation/it/notation/simultaneous.itely @@ -201,9 +201,9 @@ lista di @var{tipi di evento} da mantenere, a meno che eventi di quel tipo non siano già presenti nell'accordo @code{q} stesso. @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/it/notation/staff.itely b/Documentation/it/notation/staff.itely index 5cd0ad36a2..87462d74c1 100644 --- a/Documentation/it/notation/staff.itely +++ b/Documentation/it/notation/staff.itely @@ -942,14 +942,14 @@ Ulteriori dettagli su queste impostazioni si trovano in @ref{paper variables for shifts and indents,,@code{@bs{}paper} variables for shifts and indents}. @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/it/notation/vocal.itely b/Documentation/it/notation/vocal.itely index 711292570c..87f219a117 100644 --- a/Documentation/it/notation/vocal.itely +++ b/Documentation/it/notation/vocal.itely @@ -265,13 +265,13 @@ circostanze speciali) da una melodia associata, usando << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -493,13 +493,13 @@ Ecco un esempio che ne dimostra l'utilizzo: << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % inizialmente prende le note e le durate da "one" @@ -1436,8 +1436,8 @@ numero che segue.} \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1483,9 +1483,9 @@ e inserire dei salti manuali. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1520,8 +1520,8 @@ comandi @code{\skip}, come si è visto prima. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1553,8 +1553,8 @@ un finale alternativo, questi vanno inseriti a mano. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1625,11 +1625,11 @@ contesti specifici: \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1897,9 +1897,9 @@ nel far sì che la voce più veloce ignori il melisma, impostando @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -1985,9 +1985,9 @@ del contesto del testo impostando la proprietà @code{associatedVoice}: @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2855,8 +2855,8 @@ Ecco un esempio che illustra come fare. @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/ja/learning/common-notation.itely b/Documentation/ja/learning/common-notation.itely index fc4a3673e6..fa136f3e0b 100644 --- a/Documentation/ja/learning/common-notation.itely +++ b/Documentation/ja/learning/common-notation.itely @@ -1185,11 +1185,11 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1242,20 +1242,20 @@ song.ly:12:46: warning: barcheck failed at: 3/8 @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 9f643df1b0..655facf07f 100644 --- a/Documentation/ja/learning/fundamental.itely +++ b/Documentation/ja/learning/fundamental.itely @@ -899,12 +899,12 @@ A フラットã¯ä»˜ç‚¹ 4 分音符ã§ã‚ã‚Šã€F 㯠4 分音符ã€D フラッム@c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1066,18 +1066,18 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1096,10 +1096,10 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã 示ã—ã¦ã„ã¾ã™ã€‚ @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1155,11 +1155,11 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã ボイスãŒç„¡éŸ³ã®å ´æ‰€ã‚’飛ã°ã™ã«ã¯ä»¥ä¸‹ã®ã‚ˆã†ã«ç©ºç™½éŸ³ç¬¦ã‚’使用ã—ã¾ã™: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1254,10 +1254,10 @@ LilyPond ã¯éŸ³ç¬¦ã®æ°´å¹³æ–¹å‘ã®ä½ç½®ã‚’調節ã™ã‚‹ãŸã‚ã®æ‰‹æ®µã‚’ã„ã @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1799,13 +1799,13 @@ LilyPond ã«ã‚ˆã£ã¦ä½œæˆã•ã‚ŒãŸæ¥½èœä¸Šã«ã‚ã‚‹ã™ã¹ã¦ã®è¨˜å·ã¯ @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1850,9 +1850,9 @@ LilyPond 入力ファイルã«å¯¾ã™ã‚‹ç‰¹åˆ¥ãªã‚µãƒãƒ¼ãƒˆã‚’æŒã¤@c \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1865,9 +1865,9 @@ LilyPond 入力ファイルã«å¯¾ã™ã‚‹ç‰¹åˆ¥ãªã‚µãƒãƒ¼ãƒˆã‚’æŒã¤@c \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2114,15 +2114,15 @@ like this: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2138,15 +2138,15 @@ like this: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2479,18 +2479,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2704,17 +2704,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3121,9 +3121,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3145,9 +3145,9 @@ violin = \relative c'' { ã¨ã¦ã‚‚èªã¿é›£ãã€ç‰¹ã«æœ€å¾Œã®è¡ŒãŒèªã¿é›£ã„ã§ã™ã€‚ @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3281,7 +3281,7 @@ R2*3 以下ã®ã‚ˆã†ãªçµæžœã«ãªã‚Šã¾ã™: @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/ja/learning/tutorial.itely b/Documentation/ja/learning/tutorial.itely index 412245209d..8e82778674 100644 --- a/Documentation/ja/learning/tutorial.itely +++ b/Documentation/ja/learning/tutorial.itely @@ -431,10 +431,10 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ @code{\tempo} コマンドã§ã‚»ãƒƒãƒˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -482,11 +482,11 @@ A, G, F ã§ã‚ã‚‹å ´åˆã¯ B ã®ä¸‹ã«ç½®ã‹ã‚Œã¾ã™ã€‚ 以上ã®è¦ç´ ã‚’ã™ã¹ã¦é›†ã‚ãŸã¡ã‚‡ã£ã¨ã—ãŸä¾‹ã‚’ãŠè¦‹ã›ã—ã¾ã™: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/ja/learning/tweaks.itely b/Documentation/ja/learning/tweaks.itely index cf353f0231..257dae26e1 100644 --- a/Documentation/ja/learning/tweaks.itely +++ b/Documentation/ja/learning/tweaks.itely @@ -3892,10 +3892,10 @@ lhMusic = \relative { @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3914,10 +3914,10 @@ lhMusic = \relative { @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \omit Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4074,9 +4074,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4122,9 +4122,9 @@ inst = @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4147,9 +4147,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4234,9 +4234,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4316,9 +4316,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4539,7 +4539,7 @@ Scheme プãƒã‚·ãƒ¼ã‚¸ãƒ£ã‚’セットã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚@c ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/ja/notation/changing-defaults.itely b/Documentation/ja/notation/changing-defaults.itely index 29e027aac8..4a13713095 100644 --- a/Documentation/ja/notation/changing-defaults.itely +++ b/Documentation/ja/notation/changing-defaults.itely @@ -4683,9 +4683,9 @@ tempoPadded = \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/ja/notation/editorial.itely b/Documentation/ja/notation/editorial.itely index 4e0d3e85cf..10e0a139ca 100644 --- a/Documentation/ja/notation/editorial.itely +++ b/Documentation/ja/notation/editorial.itely @@ -640,11 +640,11 @@ altered: \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c4. d8 e8 f g4 + c''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { \clef bass \stemDown c4 g' f e diff --git a/Documentation/ja/notation/fretted-strings.itely b/Documentation/ja/notation/fretted-strings.itely index d1ff2dd3e8..b52b2a018a 100644 --- a/Documentation/ja/notation/fretted-strings.itely +++ b/Documentation/ja/notation/fretted-strings.itely @@ -297,9 +297,9 @@ guitar = \relative { ç¹°ã‚Šè¿”ã—ã®å·®ã—替ãˆéƒ¨åˆ†ã§ã‚‚åŒæ§˜ã§ã™ã€‚ @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { @@ -337,9 +337,9 @@ ties = \relative c' { 括弧付ãフレット番å·ã®èœåˆ»ã‚’ã‚ャンセルã—ã¾ã™: @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { { g4 f2. } @@ -1731,10 +1731,10 @@ e16 b g d 通常ã€ãƒãƒ¼ãƒ¢ãƒ‹ã‚¯ã‚¹ã«ã¯ãƒ†ã‚スト マークアップã«ã‚ˆã‚‹èª¬æ˜Žã‚‚付ã‘åŠ ãˆã¾ã™ã€‚ @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \clef "treble_8" \override Staff.NoteHead.style = #'harmonic-mixed - d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 + d'^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 } @end lilypond diff --git a/Documentation/ja/notation/input.itely b/Documentation/ja/notation/input.itely index 887f5d5ea3..7618f41f03 100644 --- a/Documentation/ja/notation/input.itely +++ b/Documentation/ja/notation/input.itely @@ -596,10 +596,10 @@ book ãŒå˜ä¸€ã® score ã—ã‹æŒãŸãªã„å ´åˆã€@c } \score { - \new Staff \relative g, { + \new Staff \relative { \clef bass \key g \major - \repeat unfold 2 { g16( d' b') a b d, b' d, } | + \repeat unfold 2 { g,16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { @@ -608,7 +608,7 @@ book ãŒå˜ä¸€ã® score ã—ã‹æŒãŸãªã„å ´åˆã€@c } \score { - \new Staff \relative b { + \new Staff \relative { \clef bass \key g \major \partial 16 b16 | diff --git a/Documentation/ja/notation/rhythms.itely b/Documentation/ja/notation/rhythms.itely index 9241b923aa..3aa374d61e 100644 --- a/Documentation/ja/notation/rhythms.itely +++ b/Documentation/ja/notation/rhythms.itely @@ -1164,8 +1164,8 @@ c c c c @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1716,9 +1716,9 @@ c8 c c リスト㮠@emph{最後ã®} æ•°å—ãŒæ‹å記å·ã®åˆ†æ¯ã«ãªã‚Šã¾ã™ã€‚ @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1726,14 +1726,14 @@ c8 c c ã¾ãŸã€ã“ã®é–¢æ•°ã§æŒ‡å®šã•ã‚ŒãŸå€¤ã«åŸºã¥ã„ã¦è‡ªå‹•é€£æ¡ã®è¨å®šã¯èª¿ç¯€ã•ã‚Œã¾ã™ã€‚ @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2080,10 +2080,10 @@ c16^"(3+2)" c c c c | } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> @@ -3527,9 +3527,9 @@ MyCadenza = \relative { 次ã®å°ç¯€ç·šã¯ 5/4 ã§ã¯ãªã 9/8 ã®ä½ç½®ã§å¼•ã‹ã‚Œã¾ã™ã€‚ @lilypond[quote,verbatim] -\new Voice \relative c' { +\new Voice \relative { \set Timing.measureLength = #(ly:make-moment 5/4) - c1 c4 | + c'1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5/8) diff --git a/Documentation/ja/notation/simultaneous.itely b/Documentation/ja/notation/simultaneous.itely index 866a26acdb..c7219f0a36 100644 --- a/Documentation/ja/notation/simultaneous.itely +++ b/Documentation/ja/notation/simultaneous.itely @@ -196,9 +196,9 @@ q2 c, | ã“ã‚Œã«ã‚ˆã‚ŠæŒã¡è¶Šã•ã‚Œã‚‹ã‚¤ãƒ™ãƒ³ãƒˆã¯ã™ã§ã«å’ŒéŸ³ @code{q} ã«å˜åœ¨ã—ã¦ã„ã‚‹ã‚‚ã®ã ã‘ã§ã™ã€‚ @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/ja/notation/staff.itely b/Documentation/ja/notation/staff.itely index ab8e317c43..f047434726 100644 --- a/Documentation/ja/notation/staff.itely +++ b/Documentation/ja/notation/staff.itely @@ -951,14 +951,14 @@ d4 e f g ã‚’å‚ç…§ã—ã¦ãã ã•ã„。 @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/ja/notation/vocal.itely b/Documentation/ja/notation/vocal.itely index 7ec5c737c9..3ef53042d6 100644 --- a/Documentation/ja/notation/vocal.itely +++ b/Documentation/ja/notation/vocal.itely @@ -254,13 +254,13 @@ << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -480,13 +480,13 @@ << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % 最åˆã¯ "one" ã®éŸ³ç¬¦ã«æƒãˆã¾ã™ @@ -607,8 +607,8 @@ @lilypond[quote,ragged-right,verbatim] { - \relative c'' { \autoBeamOff - r8 b c fis, fis c' b e, } + \relative { \autoBeamOff + r8 b' c fis, fis c' b e, } \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da } \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da } \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da } @@ -1430,8 +1430,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1477,9 +1477,9 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1515,8 +1515,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1549,8 +1549,8 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1622,11 +1622,11 @@ contraltoWords = \lyricmode { Con -- tral -- to words } \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1789,9 +1789,9 @@ text = { @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -1879,9 +1879,9 @@ text = { @c KEEP LY @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2756,8 +2756,8 @@ Lyrics コンテã‚ストを用ã„ã‚‹ã¨è‰¯ã„çµæžœã‚’得られã¾ã™ã€‚@c @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/ja/notation/world.itely b/Documentation/ja/notation/world.itely index c95d37d790..265905f77c 100644 --- a/Documentation/ja/notation/world.itely +++ b/Documentation/ja/notation/world.itely @@ -209,9 +209,9 @@ @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { +\relative { \set Staff.extraNatural = ##f - dod dob dosd \dwn dob dobsb dodsd do do + dod' dob dosd \dwn dob dobsb dodsd do do } @end lilypond @@ -411,13 +411,13 @@ nawa ã¯ä»¥ä¸‹ã®ã‚ˆã†ã«ç¤ºã™ã“ã¨ãŒã§ãã¾ã™: @lilypond[quote,verbatim] \include "arabic.ly" \score { - \relative re' { + \relative { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re'4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely index d317c82147..071a6ad016 100644 --- a/Documentation/learning/common-notation.itely +++ b/Documentation/learning/common-notation.itely @@ -1178,11 +1178,11 @@ far about aligning lyrics to notes. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1234,20 +1234,20 @@ example from Handel's @notation{Judas Maccabæus}: @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let flee -- cy flocks the hills a -- dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 } \addlyrics { Let flee -- cy flocks the hills a -- dorn, @@ -1516,8 +1516,8 @@ music inside @code{\fixed c @{ @dots{} @}} and the absolute pitches will not be part of the relative music: @lilypond[verbatim,quote] -\relative c' { - c4 \fixed c { f'' g'' } c | +\relative { + c'4 \fixed c { f'' g'' } c | c4 \fixed c'' { f g } c } @end lilypond diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely index fb58d1f871..03aaaff03f 100644 --- a/Documentation/learning/fundamental.itely +++ b/Documentation/learning/fundamental.itely @@ -841,12 +841,12 @@ not understand. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1009,18 +1009,18 @@ markup, ties, slurs, and dynamics: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1038,10 +1038,10 @@ notes demonstrate that the main melody is now in a single voice context, permitting a phrasing slur to be drawn over them. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1102,11 +1102,11 @@ spacing notes to step over sections where the voice is silent, as here: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1203,10 +1203,10 @@ name assigned to the Voice. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1725,13 +1725,13 @@ because we omitted the context name. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1773,9 +1773,9 @@ So this turns off extra naturals in one staff: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1788,9 +1788,9 @@ and this turns them off in all staves: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2022,15 +2022,15 @@ range from that voice only: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2047,15 +2047,15 @@ the notes in all the voices on that staff: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2374,18 +2374,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2609,17 +2609,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3023,9 +3023,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \centreText c4.^"hi there!" d8 e f g d | c4.\fthenp b8 c4 c-. | @@ -3047,9 +3047,9 @@ variables. It's a lot harder to read, especially the last line. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.self-alignment-X = #CENTER c4.^"hi there!" d8 e f g d | c4._\markup @{ diff --git a/Documentation/learning/tutorial.itely b/Documentation/learning/tutorial.itely index 603b114dbe..850dc5b616 100644 --- a/Documentation/learning/tutorial.itely +++ b/Documentation/learning/tutorial.itely @@ -405,10 +405,10 @@ The @notation{tempo indication} and @notation{metronome mark} can be set with the @code{\tempo} command: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -455,11 +455,11 @@ The @notation{clef} can be set using the @code{\clef} command: Here is a small example showing all these elements together: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/learning/tweaks.itely b/Documentation/learning/tweaks.itely index 4300425df8..5d0f8fd287 100644 --- a/Documentation/learning/tweaks.itely +++ b/Documentation/learning/tweaks.itely @@ -3949,10 +3949,10 @@ We show here the effect of the two methods: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3971,10 +3971,10 @@ We show here the effect of the two methods: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \omit Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -4120,9 +4120,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4163,9 +4163,9 @@ Now let's modify our music (let's save this file as @file{music.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4185,9 +4185,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4264,9 +4264,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4339,9 +4339,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4556,7 +4556,7 @@ the staff. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/ly-examples/aucun-snippet.ly b/Documentation/ly-examples/aucun-snippet.ly index 4f18456a31..5dbdcb71a1 100644 --- a/Documentation/ly-examples/aucun-snippet.ly +++ b/Documentation/ly-examples/aucun-snippet.ly @@ -178,13 +178,13 @@ triplumWords = \lyricmode { si que m'ès -- tuet fai -- re _ chan -- _ _ çon } -triplumNotes = \relative c' { +triplumNotes = \relative { \clef "treble_8" %\set Staff.midiInstrument = "flute" % \global \override StemTremolo.beam-thickness = #.125 \override StemTremolo.slope = #1.0 - f8 f4 e8 d c f f f | % 1 + f'8 f4 e8 d c f f f | % 1 % 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 diff --git a/Documentation/ly-examples/bach-bwv610.ly b/Documentation/ly-examples/bach-bwv610.ly index c50f6ab342..80bdcc890a 100644 --- a/Documentation/ly-examples/bach-bwv610.ly +++ b/Documentation/ly-examples/bach-bwv610.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" %\include "example-header.ily" @@ -119,10 +119,10 @@ alt = { } tenor = { - \new Voice \relative c' { + \new Voice \relative { \global \repeat volta 2 { - c16 h c8~ 16 h c g a8 g~ 16 g as es + c'16 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~ 16 g as b c h c8 d8. c16 h c d h @@ -159,7 +159,7 @@ left = { pedal = { \global \clef "bass" - \relative c { + \relative { \repeat volta 2 { r8 c16 d es d es8~ 16 a, h g c h c8 r16 g as f g f g8 c,2 diff --git a/Documentation/ly-examples/bach-schenker.ly b/Documentation/ly-examples/bach-schenker.ly index 82d2f6d858..06f64306d8 100644 --- a/Documentation/ly-examples/bach-schenker.ly +++ b/Documentation/ly-examples/bach-schenker.ly @@ -15,7 +15,7 @@ I = \once \override NoteColumn.ignore-collision = ##t -\version "2.17.30" +\version "2.19.21" staffPiano = \new PianoStaff { \set Score.timing = ##f @@ -24,14 +24,14 @@ staffPiano = \new PianoStaff { \new Staff = "RH" { % Right hand \clef treble \key g \major - \relative c'' { + \relative { \override Staff.NoteCollision.merge-differently-headed = ##t << { \override Beam.positions = #'(8 . 8) \hide NoteHead \override NoteHead.duration-log = #1 - s1 b8[^\markup { + s1 b'8[^\markup { \override #'(baseline-skip . 0.5) % Add color to markup in top staff \column { \with-color #red \small { ^ 3 } } diff --git a/Documentation/ly-examples/chart.ly b/Documentation/ly-examples/chart.ly index bcf8fd7d2d..f815744705 100644 --- a/Documentation/ly-examples/chart.ly +++ b/Documentation/ly-examples/chart.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \include "example-header.ily" \include "predefined-guitar-fretboards.ly" @@ -12,9 +12,9 @@ global = { \numericTimeSignature } -melody = \relative c' { +melody = \relative { \global - d4 + d'4 g4 b8( a) g4 fis e e e e a c8( b) a4 g diff --git a/Documentation/ly-examples/granados.ly b/Documentation/ly-examples/granados.ly index 1579ac27bf..371c63a022 100644 --- a/Documentation/ly-examples/granados.ly +++ b/Documentation/ly-examples/granados.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.21" \include "example-header.ily" %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% @@ -30,10 +30,10 @@ global = { \override NoteColumn.ignore-collision = ##t } -upperVoiceOne = \relative c'' { +upperVoiceOne = \relative { \voiceOne \hide TupletBracket - <aes f'>8\([ \tuplet 5/4{g'32( aes g f g]) } + <aes' f'>8\([ \tuplet 5/4{g'32( aes g f g]) } <es aes>8[ \tuplet 5/4{<d bes'>32( c' bes aes bes]) } <es, aes es'>8 <d fis b d>\) | % end m. 1 %--------------------------------------------------% @@ -51,9 +51,9 @@ upperVoiceOne = \relative c'' { \ottava #1 <es es'>16 <f f'> <d d'> \appoggiatura f8 <es es'>16\) } -upperVoiceTwo = \relative c'' { +upperVoiceTwo = \relative { \voiceTwo - s8 c8\< <bes, f'>[ <bes aes'> c' <bes, d fis>\!] + s8 c''8\< <bes, f'>[ <bes aes'> c' <bes, d fis>\!] s32 s32_\appassmolto s8. \voiceOne r8 <bes'' es bes'>-> s4 \override Stem.cross-staff = ##t \override Stem.length = #28 @@ -61,11 +61,11 @@ upperVoiceTwo = \relative c'' { s8 \voiceTwo g,8 aes4 s4 } -middleVoiceOne = \relative c' { +middleVoiceOne = \relative { \override Stem.cross-staff = ##t \override Stem.length = #32 \override Flag.style = #'no-flag - d!8\noBeam s8 s8 s8_\crmolto s4 % 1 + d'!8\noBeam s8 s8 s8_\crmolto s4 % 1 s4 <g bes\arpeggio>8[ <es' g>] \voiceOne e,8( dis16 e) | % 2 \revert Stem.length \revert Stem.cross-staff @@ -74,19 +74,19 @@ middleVoiceOne = \relative c' { %s2. % beginning m. 3 } -middleVoiceTwo = \relative c' { +middleVoiceTwo = \relative { s2. | % 1 \override Stem.cross-staff = ##t \override Stem.length = #24 \override Flag.style = #'no-flag - s2 \voiceTwo e!4 | % 2 + s2 \voiceTwo e'!4 | % 2 s4 \voiceTwo <bes c es f>8 <f' aes es'>16 d' <bes, f' aes c>8 <bes' fis'> | % 3 } -lowerVoiceOne = \relative c, { +lowerVoiceOne = \relative { \override Staff.NoteCollision.merge-differently-headed = ##t \override Staff.NoteCollision.merge-differently-dotted = ##t - bes8 \csm \stemDown <bes'' c es>8 s2 + bes,,8 \csm \stemDown <bes'' c es>8 s2 \csl \stemUp \set subdivideBeams = ##t \set baseMoment = #(ly:make-moment 1/16) @@ -97,9 +97,9 @@ lowerVoiceOne = \relative c, { bes,,8 \csm \stemDown <bes'' c es>8 s2 } -lowerVoiceTwo = \relative c, { +lowerVoiceTwo = \relative { \voiceTwo - bes2. + bes,,2. \csh \once \override Beam.damping = #+inf.0 <bes'' es g>8 \csl \slurUp diff --git a/Documentation/ly-examples/tab-example.ly b/Documentation/ly-examples/tab-example.ly index 8abc60d4ef..1d954efbc6 100644 --- a/Documentation/ly-examples/tab-example.ly +++ b/Documentation/ly-examples/tab-example.ly @@ -1,4 +1,4 @@ -\version "2.19.16" +\version "2.19.21" #(define (glissando::calc-extra-dy grob) (let* ((original (ly:grob-original grob)) @@ -25,7 +25,7 @@ upper= \relative c' { < gis\4 d'\3 fis\2 >2 < b'\2\harmonic e\harmonic >2\fermata } -lower= \relative c { +lower= \relative { \set fingeringOrientations = #'(left) \partial 4. s4. diff --git a/Documentation/ly-examples/theory.ly b/Documentation/ly-examples/theory.ly index 5dbe0da654..bbf76e3f0a 100644 --- a/Documentation/ly-examples/theory.ly +++ b/Documentation/ly-examples/theory.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \include "example-header.ily" #(ly:set-option 'point-and-click #f) @@ -10,7 +10,7 @@ global = { \key c \major } -cf = \relative c { +cf = \relative { \clef bass \global c4 c' b a | diff --git a/Documentation/nl/learning/common-notation.itely b/Documentation/nl/learning/common-notation.itely index 0920e36af5..23be70165d 100644 --- a/Documentation/nl/learning/common-notation.itely +++ b/Documentation/nl/learning/common-notation.itely @@ -1185,11 +1185,11 @@ noten. notes. @c but the example is long enough to avoid looking strange. @lilypond[verbatim,quote,noragged-right] << - \relative c' { + \relative { \key g \major \time 3/4 \partial 4 - d4 | g4 g a8( b) | g4 g b8( c) | + d'4 | g4 g a8( b) | g4 g b8( c) | d4 d e | c2 } \addlyrics { @@ -1245,20 +1245,20 @@ notenbalk. Hier is een voorbeeld uit Handels @lilypond[verbatim,quote] << - \relative c'' { + \relative { \key f \major \time 6/8 \partial 8 - c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 + c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4 } \addlyrics { Let | flee -- cy flocks the | hills a -- | dorn, __ } - \relative c' { + \relative { \key f \major \time 6/8 \partial 8 - r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4 + r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'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 d6bc8d04cd..a7058f5b39 100644 --- a/Documentation/nl/learning/fundamental.itely +++ b/Documentation/nl/learning/fundamental.itely @@ -867,12 +867,12 @@ not understand. @c The following should appear as music without code @c The three voice styles should be defined in -init @lilypond[quote,ragged-right] -\new Staff \relative c'' { +\new Staff \relative { \key aes \major << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c''2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle @@ -1035,18 +1035,18 @@ markup, ties, slurs, and dynamics: @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceOne - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @end lilypond @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \voiceTwo - c4 d8~ 8 e4( f | g4 a) b-> c | + c'4 d8~ 8 e4( f | g4 a) b-> c | \oneVoice c,4 d8~ 8 e4( f | g4 a) b-> c | } @@ -1064,10 +1064,10 @@ notes demonstrate that the main melody is now in a single voice context, permitting a phrasing slur to be drawn over them. @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' { +\new Staff \relative { \voiceOneStyle % This section is homophonic - c16^( d e f + c'16^( d e f % Start simultaneous section of three voices << % Continue the main voice in parallel @@ -1128,11 +1128,11 @@ spacing notes to step over sections where the voice is silent, as here: @lilypond[quote,ragged-right,verbatim] -\new Staff \relative c' << +\new Staff \relative << % Initiate first voice \new Voice { \voiceOne - c16^( d e f g4 f e | d2 e) | + c'16^( d e f g4 f e | d2 e) | } % Initiate second voice \new Voice { @@ -1224,10 +1224,10 @@ name assigned to the Voice. @lilypond[quote,verbatim] << \new Voice = "one" { - \relative c'' { + \relative { \autoBeamOff \time 2/4 - c4 b8. a16 | g4. f8 | e4 d | c2 | + c''4 b8. a16 | g4. f8 | e4 d | c2 | } } \new Lyrics \lyricsto "one" { @@ -1746,13 +1746,13 @@ because we omitted the context name. @lilypond[quote,verbatim,ragged-right] << - \new Staff \relative c'' { + \new Staff \relative { \set Staff.instrumentName = #"Soprano" - c2 c + c''2 c } - \new Staff \relative c' { + \new Staff \relative { \set instrumentName = #"Alto" % Wrong! - d2 d + d'2 d } >> @end lilypond @@ -1794,9 +1794,9 @@ So this turns off extra naturals in one staff: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Staff.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -1809,9 +1809,9 @@ and this turns them off in all staves: \new Staff \relative { aeses'2 aes } - \new Staff \relative c'' { + \new Staff \relative { \set Score.extraNatural = ##f - aeses2 aes + aeses'2 aes } >> @end lilypond @@ -2043,15 +2043,15 @@ range from that voice only: \new Voice \with { \consists "Ambitus_engraver" } { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2068,15 +2068,15 @@ the notes in all the voices on that staff: } << \new Voice { - \relative c'' { + \relative { \voiceOne - c4 a b g + c''4 a b g } } \new Voice { - \relative c' { + \relative { \voiceTwo - c4 e d f + c'4 e d f } } >> @@ -2395,18 +2395,18 @@ bassMusic = \relative { } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -2622,17 +2622,17 @@ bassMusic = \relative { r4 d'2 cis4 | b4. b8 fis2 | e4 d a'2 | } bassWords = \sopranoWords -upper = \relative a' { +upper = \relative { \clef "treble" \global - r4 <a d fis>2 <a e' a>4 | + r4 <a' d fis>2 <a e' a>4 | <d fis d'>4. <d fis d'>8 <a d a'>2 | <g cis g'>4 <a d fis> <a cis e>2 | } -lower = \relative c, { +lower = \relative { \clef "bass" \global - <d d'>4 <d d'>2 <cis cis'>4 | + <d, d'>4 <d d'>2 <cis cis'>4 | <b b'>4. <b' b'>8 <fis fis'>2 | <e e'>4 <d d'> <a' a'>2 | } @@ -3036,9 +3036,9 @@ fthenp =_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p } -violin = \relative c'' { +violin = \relative { \repeat volta 2 { - c4._\dolce b8 a8 g a b | + c''4._\dolce b8 a8 g a b | \padText c4.^"hi there!" d8 e' f g d | c,4.\fthenp b8 c4 c-. | @@ -3061,9 +3061,9 @@ variables. It's a lot harder to read, especially the last line. @example -violin = \relative c'' @{ +violin = \relative @{ \repeat volta 2 @{ - c4._\markup @{ \italic \bold dolce @} b8 a8 g a b | + c''4._\markup @{ \italic \bold dolce @} b8 a8 g a b | \once \override TextScript.padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup @{ @@ -3194,7 +3194,7 @@ This command sets the property @code{skipBars} in the this option to the music above, leads to the following result @lilypond[quote,ragged-right] -\transpose f c' \relative c { +\transpose f c' \relative { \time 2/4 \set Score.skipBars = ##t R2*3 | diff --git a/Documentation/nl/learning/tutorial.itely b/Documentation/nl/learning/tutorial.itely index 7d32cfdd03..0e3991a182 100644 --- a/Documentation/nl/learning/tutorial.itely +++ b/Documentation/nl/learning/tutorial.itely @@ -416,10 +416,10 @@ De @notation{tempo indication} en @notation{metronome mark} worden gezet met het @code{\tempo}-commando: @lilypond[verbatim,quote] -\relative c'' { +\relative { \time 3/4 \tempo "Andante" - a4 a a + a'4 a a \time 6/8 \tempo 4. = 96 a4. a @@ -467,12 +467,12 @@ Hier is een klein voorbeeld dat al deze onderdelen samen toont: @lilypond[verbatim,quote] -\relative c, { +\relative { \clef "bass" \time 3/4 \tempo "Andante" 4 = 120 \clef "bass" - c2 e8 c' + c,2 e8 c' g'2. f4 e d c4 c, r diff --git a/Documentation/nl/learning/tweaks.itely b/Documentation/nl/learning/tweaks.itely index 014c1c8921..a97b9cde42 100644 --- a/Documentation/nl/learning/tweaks.itely +++ b/Documentation/nl/learning/tweaks.itely @@ -3680,10 +3680,10 @@ We show here the effect of the two methods: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \hide Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3702,10 +3702,10 @@ We show here the effect of the two methods: @lilypond[quote,verbatim,ragged-right] \score { - \relative c'' { + \relative { % Visible tempo marking \tempo 4=120 - a4 a a + a'4 a a \once \omit Score.MetronomeMark % Invisible tempo marking to lengthen fermata in MIDI \tempo 4=80 @@ -3853,9 +3853,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -3899,9 +3899,9 @@ Now let's modify our music (let's save this file as @file{music.ly}). @example \include "definitions.ily" -\relative c'' @{ +\relative @{ \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -3924,9 +3924,9 @@ inst = (string?) #{ <>^\markup \bold \box #string #}) -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4009,9 +4009,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4090,9 +4090,9 @@ inst = } } -\relative c'' { +\relative { \tempo 4=50 - a4.\mpdolce d8 cis4--\glissando a | + a'4.\mpdolce d8 cis4--\glissando a | b4 bes a2 | \inst "Clarinet" cis4.\< d8 e4 fis | @@ -4307,7 +4307,7 @@ the staff. ((0) (x11-color 'violet )) ; for B ))) -\relative c' { +\relative { % Arrange to obtain color from color-notehead procedure \override NoteHead.color = #color-notehead a2 b | c2 d | e2 f | g2 a | diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely index 1ab6d47867..1e7f61d6b2 100644 --- a/Documentation/notation/ancient.itely +++ b/Documentation/notation/ancient.itely @@ -220,8 +220,8 @@ specific for this particular type of ligature. By default, the above the ligature. @lilypond[quote,ragged-right,verbatim] -\relative c'' { - \[ g c, a' f d' \] +\relative { + \[ g' c, a' f d' \] a g f \[ e f a g \] } @@ -375,9 +375,9 @@ entering the chant, as the following excerpt demonstrates: @lilypond[quote,ragged-right,verbatim] \score { << - \new MensuralVoice = "discantus" \relative c'' { + \new MensuralVoice = "discantus" \relative { \hide Score.BarNumber { - c1\melisma bes a g\melismaEnd + c''1\melisma bes a g\melismaEnd f\breve \[ f1\melisma a c\breve d\melismaEnd \] c\longa @@ -876,10 +876,10 @@ defined as a convenient shorthand: @lilypond[quote,verbatim] ficta = { \once \set suggestAccidentals = ##t } -\score { \relative c'' +\score { \relative \new MensuralVoice { \once \set suggestAccidentals = ##t - bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1 + bes'4 a2 g2 \ficta fis8 \ficta e! fis2 g1 } } @end lilypond @@ -932,13 +932,13 @@ For example, @lilypond[quote,ragged-right,verbatim] \score { - \relative c' { + \relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d'\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -960,13 +960,13 @@ Without replacing @code{Ligature_bracket_engraver} with @code{Mensural_ligature_engraver}, the same music looks as follows: @lilypond[quote,ragged-right] -\relative c' { +\relative { \set Score.timing = ##f \set Score.defaultBarType = "-" \override NoteHead.style = #'petrucci \override Staff.TimeSignature.style = #'mensural \clef "petrucci-g" - \[ c'\maxima g \] + \[ c''\maxima g \] \[ d'\longa \override NoteHead.ligature-flexa = ##t \once \override NoteHead.flexa-width = #3.2 @@ -1612,9 +1612,9 @@ code} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ b \] + \[ b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1626,9 +1626,9 @@ code} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \cavum b \] + \[ \cavum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1640,9 +1640,9 @@ code} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum - \[ \linea b \] + \[ \linea b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1655,9 +1655,9 @@ code} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Ascendens - \[ \auctum \ascendens b \] + \[ \auctum \ascendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1670,9 +1670,9 @@ code} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Auctum Descendens - \[ \auctum \descendens b \] + \[ \auctum \descendens b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1685,9 +1685,9 @@ code} @lilypond[staffsize=26,line-width=1.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum - \[ \inclinatum b \] + \[ \inclinatum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1700,9 +1700,9 @@ code} @lilypond[staffsize=26,line-width=2.5\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Auctum - \[ \inclinatum \auctum b \] + \[ \inclinatum \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1715,9 +1715,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Punctum Inclinatum Parvum - \[ \inclinatum \deminutum b \] + \[ \inclinatum \deminutum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1730,9 +1730,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Virga - \[ \virga b \] + \[ \virga b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1751,9 +1751,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis vel Flexa - \[ b \flexa g \] + \[ b' \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1767,9 +1767,9 @@ code} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Descendens - \[ b \flexa \auctum \descendens g \] + \[ b' \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1782,9 +1782,9 @@ code} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Clivis Aucta Ascendens - \[ b \flexa \auctum \ascendens g \] + \[ b' \flexa \auctum \ascendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1797,9 +1797,9 @@ code} @lilypond[staffsize=26,line-width=2.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Cephalicus - \[ b \flexa \deminutum g \] + \[ b' \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1812,9 +1812,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Podatus vel Pes - \[ g \pes b \] + \[ g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1827,9 +1827,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens - \[ g \pes \auctum \descendens b \] + \[ g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1842,9 +1842,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Ascendens - \[ g \pes \auctum \ascendens b \] + \[ g' \pes \auctum \ascendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1857,9 +1857,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Epiphonus - \[ g \pes \deminutum b \] + \[ g' \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1872,9 +1872,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Initio Debilis - \[ \deminutum g \pes b \] + \[ \deminutum g' \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1887,9 +1887,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Auctus Descendens Initio Debilis - \[ \deminutum g \pes \auctum \descendens b \] + \[ \deminutum g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1909,9 +1909,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus - \[ a \pes b \flexa g \] + \[ a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1924,9 +1924,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens - \[ a \pes b \flexa \auctum \descendens g \] + \[ a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1939,9 +1939,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus - \[ a \pes b \flexa \deminutum g \] + \[ a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1954,9 +1954,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Initio Debilis - \[ \deminutum a \pes b \flexa g \] + \[ \deminutum a' \pes b \flexa g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1969,9 +1969,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Auctus Descendens Initio Debilis - \[ \deminutum a \pes b \flexa \auctum \descendens g \] + \[ \deminutum a' \pes b \flexa \auctum \descendens g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1984,9 +1984,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Torculus Deminutus Initio Debilis - \[ \deminutum a \pes b \flexa \deminutum g \] + \[ \deminutum a' \pes b \flexa \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -1999,9 +1999,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus - \[ a \flexa g \pes b \] + \[ a' \flexa g \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2014,9 +2014,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Auctus Descendens - \[ a \flexa g \pes \auctum \descendens b \] + \[ a' \flexa g \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2029,9 +2029,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Porrectus Deminutus - \[ a \flexa g \pes \deminutum b \] + \[ a' \flexa g \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2044,9 +2044,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus - \[ \virga b \inclinatum a \inclinatum g \] + \[ \virga b' \inclinatum a \inclinatum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2059,9 +2059,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Auctus - \[ \virga b \inclinatum a \inclinatum \auctum g \] + \[ \virga b' \inclinatum a \inclinatum \auctum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2074,9 +2074,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Climacus Deminutus - \[ \virga b \inclinatum a \inclinatum \deminutum g \] + \[ \virga b' \inclinatum a \inclinatum \deminutum g \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2089,9 +2089,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus - \[ g \pes a \virga b \] + \[ g' \pes a \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2104,9 +2104,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Auctus Descendens - \[ g \pes a \pes \auctum \descendens b \] + \[ g' \pes a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2119,9 +2119,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Scandicus Deminutus - \[ g \pes a \pes \deminutum b \] + \[ g' \pes a \pes \deminutum b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2141,9 +2141,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma - \[ g \pes \quilisma a \pes b \] + \[ g' \pes \quilisma a \pes b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2156,9 +2156,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Quilisma Pes Auctus Descendens - \[ g \quilisma a \pes \auctum \descendens b \] + \[ g' \quilisma a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2171,9 +2171,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Oriscus - \[ \oriscus b \] + \[ \oriscus b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2186,9 +2186,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus - \[ \oriscus g \pes \virga b \] + \[ \oriscus g' \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2201,9 +2201,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Pes Quassus Auctus Descendens - \[ \oriscus g \pes \auctum \descendens b \] + \[ \oriscus g' \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2216,9 +2216,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus - \[ g \oriscus a \pes \virga b \] + \[ g' \oriscus a \pes \virga b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2231,9 +2231,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Salicus Auctus Descendens - \[ g \oriscus a \pes \auctum \descendens b \] + \[ g' \oriscus a \pes \auctum \descendens b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2246,9 +2246,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha - \[ \stropha b \] + \[ \stropha b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2261,9 +2261,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Stropha Aucta - \[ \stropha \auctum b \] + \[ \stropha \auctum b' \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2276,9 +2276,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Bistropha - \[ \stropha b \stropha b \] + \[ \stropha b' \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2291,9 +2291,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Tristropha - \[ \stropha b \stropha b \stropha b \] + \[ \stropha b' \stropha b \stropha b \] } \layout { \neumeDemoLayout }} @end lilypond @@ -2306,9 +2306,9 @@ code} @lilypond[staffsize=26,line-width=1.0\cm] \include "gregorian.ly" \score { - \relative c'' { + \relative { % Trigonus - \[ \stropha b \stropha b \stropha a \] + \[ \stropha b' \stropha b \stropha a \] } \layout { \neumeDemoLayout } } @@ -2783,11 +2783,11 @@ when needed with the corresponding @code{\undo \hide Stem}. @lilypond[verbatim,ragged-right] \include "gregorian.ly" -chant = \relative c' { +chant = \relative { \clef "G_8" \set Score.timing = ##f \hide Stem - c\breve \hide NoteHead c c c c c + c'\breve \hide NoteHead c c c c c \undo \hide NoteHead \undo \hide Stem \stemUp c4 b4 a \hide Stem c2 c4 \divisioMaior @@ -2836,10 +2836,10 @@ adjustments are necessary, this can be easily done with @code{s} @q{notes}. @lilypond[verbatim,quote] -spiritus = \relative c' { +spiritus = \relative { \time 1/4 \override Lyrics.LyricText.X-extent = #'(0 . 3) - d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e + d'4 \tuplet 3/2 { f8 a g } g a a4 g f8 e d4 f8 g g8 d f g a g f4 g8 a a4 s \tuplet 3/2 { g8 f d } e f g a g4 } diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely index ffc80342ab..08c3fba366 100644 --- a/Documentation/notation/changing-defaults.itely +++ b/Documentation/notation/changing-defaults.itely @@ -4734,9 +4734,9 @@ tempoPadded = \tempo \markup { \bold #tempotext } #}) -\relative c'' { +\relative { \tempo \markup { "Low tempo" } - c4 d e f g1 + c''4 d e f g1 \tempoPadded #4.0 "High tempo" g4 f e d c1 } diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely index 4b2602b02d..01425135c1 100644 --- a/Documentation/notation/editorial.itely +++ b/Documentation/notation/editorial.itely @@ -786,11 +786,11 @@ lines. \score { \new ChoirStaff << - \new Staff \relative c'' { + \new Staff \relative { \stemUp - c4. d8 e8 f g4 + c''4. d8 e8 f g4 } - \new Staff \relative c { + \new Staff \relative { \clef bass \stemDown c4 g' f e diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely index e3882f912d..e1ccd070a6 100644 --- a/Documentation/notation/fretted-strings.itely +++ b/Documentation/notation/fretted-strings.itely @@ -313,9 +313,9 @@ Ties over a line break are parenthesized by default. The same holds for the second alternative of a repeat. @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { @@ -353,9 +353,9 @@ The command @code{\hideSplitTiedTabNotes} cancels the behavior of engraving fret numbers in parentheses: @lilypond[quote,ragged-right,verbatim] -ties = \relative c' { +ties = \relative { \repeat volta 2 { - e2. f4~ + e'2. f4~ 2 g2~ } \alternative { { g4 f2. } @@ -1740,10 +1740,10 @@ harmonics. Harmonics are normally further explained with a text markup. @lilypond[quote,ragged-right,verbatim] -\relative c' { +\relative { \clef "treble_8" \override Staff.NoteHead.style = #'harmonic-mixed - d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 + d'^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 } @end lilypond diff --git a/Documentation/notation/input.itely b/Documentation/notation/input.itely index aef1360068..14a4202f39 100644 --- a/Documentation/notation/input.itely +++ b/Documentation/notation/input.itely @@ -643,10 +643,10 @@ suitable, as here: } \score { - \new Staff \relative g, { + \new Staff \relative { \clef bass \key g \major - \repeat unfold 2 { g16( d' b') a b d, b' d, } | + \repeat unfold 2 { g,16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { @@ -655,7 +655,7 @@ suitable, as here: } \score { - \new Staff \relative b { + \new Staff \relative { \clef bass \key g \major \partial 16 b16 | diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index 973bbb9456..9418c122aa 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -1091,9 +1091,9 @@ argument: @lilypond[quote,verbatim] \score { \new Staff { - \relative c' { + \relative { \time #'(2 2 3) 7/8 - \repeat unfold 7 { c8 } | + \repeat unfold 7 { c'8 } | \time #'(3 2 2) 7/8 \repeat unfold 7 { c8 } | } @@ -1156,8 +1156,8 @@ to the original values: @lilypond[quote,verbatim] \score{ - \relative c' { - \repeat unfold 8 { c8 } | + \relative { + \repeat unfold 8 { c'8 } | \overrideTimeSignatureSettings 4/4 % timeSignatureFraction 1/4 % baseMomentFraction @@ -1703,9 +1703,9 @@ indicates the bottom number of the time signature and those that come before it, the top numbers. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((2 2 2 8)) - \repeat unfold 6 c8 \repeat unfold 12 c16 + \repeat unfold 6 c'8 \repeat unfold 12 c16 } @end lilypond @@ -1713,14 +1713,14 @@ More complex meters can be constructed using additional lists. Also, automatic beaming settings will be adjusted depending on the values. @lilypond[quote,verbatim] -\relative c' { +\relative { \compoundMeter #'((1 4) (3 8)) - \repeat unfold 5 c8 \repeat unfold 10 c16 + \repeat unfold 5 c'8 \repeat unfold 10 c16 } -\relative c' { +\relative { \compoundMeter #'((1 2 3 8) (3 4)) - \repeat unfold 12 c8 + \repeat unfold 12 c'8 } @end lilypond @@ -2141,10 +2141,10 @@ enclosing context will apply. } } \new Voice = two { - \relative c' { + \relative { \voiceTwo \set Voice.beatStructure = #'(1 3 3) - f8 f f f f f f + f'8 f f f f f f } } >> @@ -3645,9 +3645,9 @@ advanced by 1/8 to 5/8, shortening that bar by 1/8. The next bar line then falls at 9/8 rather than 5/4. @lilypond[quote,verbatim] -\new Voice \relative c' { +\new Voice \relative { \set Timing.measureLength = #(ly:make-moment 5/4) - c1 c4 | + c'1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5/8) diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index 893f8222f4..3d5cb96b87 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -195,9 +195,9 @@ be called explicitly with an extra argument specifying a list of present on the @code{q} chord itself. @lilypond[verbatim,quote] -\relative c'' { +\relative { \chordRepeats #'(articulation-event) - { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } | + { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } | q2 c, | } @end lilypond diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely index dbb035a58e..2ad184bc1f 100644 --- a/Documentation/notation/staff.itely +++ b/Documentation/notation/staff.itely @@ -927,14 +927,14 @@ staff group may not be centered unless the @code{indent} and settings, see @ref{paper variables for shifts and indents,,@code{@bs{}paper} variables for shifts and indents}. @lilypond[verbatim,quote,ragged-right] -\relative c'' { +\relative { << \new Staff \with { instrumentName = #"Alto Flute in G" shortInstrumentName = #"Flt." } { - f2 g4 f \break + f''2 g4 f \break g4 f g2 } \new Staff \with { diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index fe6f26e880..b0f14e5c1d 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -249,13 +249,13 @@ For more details, see @ref{Automatic syllable durations}. << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e4 d c2 + s2 s4. f'8 e4 d c2 } >> @@ -477,13 +477,13 @@ Here is an example demonstrating its use: << \new Staff << \time 2/4 - \new Voice = "one" \relative c'' { + \new Voice = "one" \relative { \voiceOne - c4 b8. a16 g4. r8 a4 ( b ) c2 + c''4 b8. a16 g4. r8 a4 ( b ) c2 } - \new Voice = "two" \relative c' { + \new Voice = "two" \relative { \voiceTwo - s2 s4. f8 e8 d4. c2 + s2 s4. f'8 e8 d4. c2 } >> % takes durations and alignment from notes in "one" initially @@ -1417,8 +1417,8 @@ value, irrespective of the value of the following number.} \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b } + \relative { + \repeat volta 2 { b'4 b } \alternative { { b b } { b c } } c4 c } @@ -1464,9 +1464,9 @@ melismata over the volta section and insert manual skips. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { + \relative { \set melismaBusyProperties = #'() - \repeat volta 2 { b4 b ~} + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c @@ -1501,8 +1501,8 @@ be inserted manually, as before. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1534,8 +1534,8 @@ alternative sections these must be inserted manually. \new Staff { \time 2/4 \new Voice = "melody" { - \relative c'' { - \repeat volta 2 { b4 b ~} + \relative { + \repeat volta 2 { b'4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } @@ -1606,11 +1606,11 @@ attaching lyrics to those specific contexts: \score { << \new Voice = "melody" { - \relative c' { + \relative { << { \voiceOne - e4 e8 e + e'4 e8 e } \new Voice = "splitpart" { \voiceTwo @@ -1866,9 +1866,9 @@ voice ignore the melisma. This is done by setting @lilypond[verbatim,ragged-right,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 @@ -1955,9 +1955,9 @@ within the lyrics by setting the @code{associatedVoice} property: @lilypond[verbatim,quote] << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne @@ -2798,8 +2798,8 @@ Here is an example illustrating how this might be done. @c manually adjusted to suit the imposed line length. -td @lilypond[quote,verbatim,ragged-right] -music = \relative c'' { - \repeat unfold 3 { a4 a a a } +music = \relative { + \repeat unfold 3 { a'4 a a a } } dialogue = \lyricmode { diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely index f7efd116e3..379b83246c 100644 --- a/Documentation/notation/world.itely +++ b/Documentation/notation/world.itely @@ -209,9 +209,9 @@ signature cannot be altered by using this method. @lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { +\relative { \set Staff.extraNatural = ##f - dod dob dosd \dwn dob dobsb dodsd do do + dod' dob dosd \dwn dob dobsb dodsd do do } @end lilypond @@ -407,13 +407,13 @@ intervals and unusual modes that are discussed in this section. @lilypond[quote,verbatim] \include "arabic.ly" \score { - \relative re' { + \relative { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re'4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 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 2596aebc36..f230a6de80 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 "2.19.2" +\version "2.19.21" \header { lsrtags = "rhythms, simultaneous-notes, tweaks-and-overrides" @@ -19,13 +19,13 @@ in that voice, the tie appears to cross voices. doctitle = "Making an object invisible with the 'transparent property" } -\relative c'' { +\relative { \time 2/4 << { \once \hide Stem \once \override Stem.length = #8 - b8 ~ 8\noBeam + b'8 ~ 8\noBeam \once \hide Stem \once \override Stem.length = #8 g8 ~ 8\noBeam diff --git a/Documentation/snippets/new/non-traditional-key-signatures.ly b/Documentation/snippets/new/non-traditional-key-signatures.ly index 5559898bec..f89568fa74 100644 --- a/Documentation/snippets/new/non-traditional-key-signatures.ly +++ b/Documentation/snippets/new/non-traditional-key-signatures.ly @@ -1,4 +1,4 @@ -\version "2.19.7" +\version "2.19.21" \header { lsrtags = "contemporary-notation, pitches, really-cool, staff-notation, version-specific" @@ -35,10 +35,10 @@ whole-tone scale: } -\relative c' { +\relative { \set Staff.keyAlterations = #`((6 . ,FLAT) (5 . ,FLAT) (3 . ,SHARP)) - c4 d e fis + c'4 d e fis aes4 bes c2 } diff --git a/input/regression/accidental-ancient.ly b/input/regression/accidental-ancient.ly index b242547058..2b24452541 100644 --- a/input/regression/accidental-ancient.ly +++ b/input/regression/accidental-ancient.ly @@ -6,13 +6,13 @@ are collected here. " } -\version "2.17.6" +\version "2.19.21" -\relative c'' { +\relative { \time 3/4 % FIXME: standard vs default, alteration-FOO vs FOO-alteration \override Staff.Accidental.glyph-name-alist = #standard-alteration-glyph-name-alist - cis^\markup { \typewriter default } c ces + cis''^\markup { \typewriter default } c ces \override Staff.Accidental.glyph-name-alist = #alteration-hufnagel-glyph-name-alist cis^\markup { \typewriter hufnagel } c ces diff --git a/input/regression/accidental-contemporary.ly b/input/regression/accidental-contemporary.ly index eb05abcddb..536cce96f5 100644 --- a/input/regression/accidental-contemporary.ly +++ b/input/regression/accidental-contemporary.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Several automatic accidental rules @@ -29,9 +29,9 @@ Both scores should show the same accidentals. \layout { ragged-right = ##t } \score { - \relative c'' { + \relative { \accidentalStyle dodecaphonic - gis4 a g gisis + gis'4 a g gisis \accidentalStyle neo-modern gis8 a gis gis g' gis gis,, a' \accidentalStyle neo-modern-cautionary @@ -43,10 +43,10 @@ Both scores should show the same accidentals. } \score { - \relative c'' { + \relative { \set Staff.autoAccidentals = #'() \set Staff.autoCautionaries = #'() - gis!4 a! g! gisis! + gis'!4 a! g! gisis! gis!8 a gis! gis g'! gis! gis,,! a' eis! fis! eis? eis g?2 \key e \major diff --git a/input/regression/accidental-fingering-collision.ly b/input/regression/accidental-fingering-collision.ly index ac7a07e9c0..9e2f98dedd 100644 --- a/input/regression/accidental-fingering-collision.ly +++ b/input/regression/accidental-fingering-collision.ly @@ -1,4 +1,4 @@ -\version "2.17.0" +\version "2.19.21" \header { texidoc = "Horizontal @code{Fingering} grobs should not collide with @@ -6,7 +6,7 @@ accidentals. " } -\relative c' { +\relative { \time 2/4 \set fingeringOrientations = #'(left) <a-3 cis-4> <a-3 cis!-4> | diff --git a/input/regression/accidental-piano.ly b/input/regression/accidental-piano.ly index c1c64c80cb..6a76811017 100644 --- a/input/regression/accidental-piano.ly +++ b/input/regression/accidental-piano.ly @@ -6,14 +6,14 @@ accidental." } -\version "2.17.15" +\version "2.19.21" \layout { ragged-right = ##t } -\new PianoStaff \relative c' << +\new PianoStaff \relative << \accidentalStyle piano \new Staff { ges'4 ges4 } \new Staff { r8 gis r8 gis } diff --git a/input/regression/accidental-placement-padding.ly b/input/regression/accidental-placement-padding.ly index 5cf5c665f8..3fdd648dca 100644 --- a/input/regression/accidental-placement-padding.ly +++ b/input/regression/accidental-placement-padding.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Accidental padding works for all accidentals, including those modifying the same pitch." } -\relative c' { +\relative { \override Staff.AccidentalPlacement.padding = #2 - <ces cis>1 + <ces' cis>1 <ces des>1 } diff --git a/input/regression/accidental-suggestions.ly b/input/regression/accidental-suggestions.ly index 6e0a867ffa..f3b5d46ec1 100644 --- a/input/regression/accidental-suggestions.ly +++ b/input/regression/accidental-suggestions.ly @@ -7,15 +7,15 @@ denoting Musica Ficta." } -\version "2.17.25" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { +\relative { \time 2/4 \set suggestAccidentals = ##t - cis^> gis'-! + cis''^> gis'-! \override AccidentalSuggestion.parenthesized = ##t cis,_"paren" gis' diff --git a/input/regression/apply-output.ly b/input/regression/apply-output.ly index 6e50ca5c44..496be95ea0 100644 --- a/input/regression/apply-output.ly +++ b/input/regression/apply-output.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The @code{\\applyOutput} expression is the most flexible way to @@ -28,10 +28,10 @@ position. )))) )))) -\new Voice \relative c' { +\new Voice \relative { \set autoBeaming = ##f - <d f g b>8 + <d' f g b>8 \applyOutput #'Voice #mc-squared <d f g b>8 diff --git a/input/regression/arpeggio-no-overshoot.ly b/input/regression/arpeggio-no-overshoot.ly index 96ebc54854..e803a1b5d6 100644 --- a/input/regression/arpeggio-no-overshoot.ly +++ b/input/regression/arpeggio-no-overshoot.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Arpeggios do not overshoot the highest note head. @@ -6,10 +6,10 @@ The first chord in this example simulates overshoot using @code{'positions} for comparison with the correct behaviour." } -\relative c' { +\relative { % simulate overshoot for comparison \once \override Arpeggio.positions = #'(-3 . 1) - <c e g b>1\arpeggio + <c' e g b>1\arpeggio <c e g b>1\arpeggio <f a c>2\arpeggio <g b d f>\arpeggio } diff --git a/input/regression/arpeggio-span-one-staff-collision.ly b/input/regression/arpeggio-span-one-staff-collision.ly index d5ba546c56..dd4376c4d5 100644 --- a/input/regression/arpeggio-span-one-staff-collision.ly +++ b/input/regression/arpeggio-span-one-staff-collision.ly @@ -1,4 +1,4 @@ -\version "2.17.26" +\version "2.19.21" \header { texidoc = "Span arpeggios that are not cross-staff do not have @@ -12,11 +12,11 @@ horizontal spacing problems. { \consists "Span_arpeggio_engraver" } -\relative c'' +\relative { \set Staff.connectArpeggios = ##t << - {r2. <ges aes c ges'>4\arpeggio |} + {r2. <ges' aes c ges'>4\arpeggio |} \\ {\repeat unfold 12 aes,16 <ees aes c>4\arpeggio |} >> diff --git a/input/regression/auto-beam-breathe.ly b/input/regression/auto-beam-breathe.ly index 5eee83a9f1..c64a53f1c9 100644 --- a/input/regression/auto-beam-breathe.ly +++ b/input/regression/auto-beam-breathe.ly @@ -1,13 +1,13 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Automatic beams are ended early if a breathing sign is encountered." } -\relative c' { +\relative { \time 1/1 - \repeat unfold 8 c8 + \repeat unfold 8 c'8 c8 c \breathe c8 c c c c diff --git a/input/regression/auto-beam-partial.ly b/input/regression/auto-beam-partial.ly index 1151dea94c..85e89ada5d 100644 --- a/input/regression/auto-beam-partial.ly +++ b/input/regression/auto-beam-partial.ly @@ -2,12 +2,12 @@ texidoc="Autobeaming works properly in partial measures." } -\version "2.16.0" +\version "2.19.21" -\relative c'' { +\relative { \time 6/8 \partial 2 - a8 a a a | + a'8 a a a | } diff --git a/input/regression/auto-beam-recheck.ly b/input/regression/auto-beam-recheck.ly index 08dd89564e..148870eebb 100644 --- a/input/regression/auto-beam-recheck.ly +++ b/input/regression/auto-beam-recheck.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "In 4/4 time, the first and second and third and fourth @@ -8,8 +8,8 @@ If any shorter notes are included, each beat should be beamed separately." } \layout { ragged-right = ##t } -\relative c'' { - \repeat unfold 8 { a8} | +\relative { + \repeat unfold 8 { a'8} | a8 a a a16 a a8 a a16 a a8 | r16 a8. a8 a16 a r8. a16 a8 a16 a | } diff --git a/input/regression/baerenreiter-sarabande.ly b/input/regression/baerenreiter-sarabande.ly index f7814f4f3b..891a3a595c 100644 --- a/input/regression/baerenreiter-sarabande.ly +++ b/input/regression/baerenreiter-sarabande.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" forcedLastBreak = {} %% { \break } if needed to match original breaks @@ -50,7 +50,7 @@ half way in measure 13 has been forgotten. } -sarabandeA = \context Voice \relative c { +sarabandeA = \context Voice \relative { \override Staff.NoteCollision.merge-differently-dotted = ##t diff --git a/input/regression/bar-number-visibility.ly b/input/regression/bar-number-visibility.ly index afe6f1e273..868d893d35 100644 --- a/input/regression/bar-number-visibility.ly +++ b/input/regression/bar-number-visibility.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The @code{barNumberVisibility} property controls at what @@ -6,8 +6,8 @@ intervals bar numbers are printed. " } -music = \relative c' { - \repeat unfold 3 { c2 \bar "" \break \repeat unfold 5 c2 } +music = \relative { + \repeat unfold 3 { c'2 \bar "" \break \repeat unfold 5 c2 } } { diff --git a/input/regression/bar-number-volta-repeat.ly b/input/regression/bar-number-volta-repeat.ly index 6a3e4bf075..a8bb15491a 100644 --- a/input/regression/bar-number-volta-repeat.ly +++ b/input/regression/bar-number-volta-repeat.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Bar numbers can automatically reset at volta repeats. @@ -9,10 +9,10 @@ musicWithBarNumberCheck = #(define-music-function (parser location n) (integer?) #{ - \relative c' { + \relative { \override Score.BarNumber.break-visibility = ##(#t #t #t) \repeat volta 28 { - c1 | + c'1 | c | c | } diff --git a/input/regression/bar-number.ly b/input/regression/bar-number.ly index ca1d1ff2c9..da1155b0a1 100644 --- a/input/regression/bar-number.ly +++ b/input/regression/bar-number.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -16,9 +16,9 @@ be increased. ragged-right = ##t } -\relative c'' { +\relative { \override Score.BarNumber.break-visibility = #all-visible - \partial 4 c4 + \partial 4 c''4 c1 c c \set Score.currentBarNumber = #99999 \override Score.BarNumber.padding = #3 diff --git a/input/regression/beam-beamlet-break.ly b/input/regression/beam-beamlet-break.ly index 6f13e58a9e..e4792a69aa 100644 --- a/input/regression/beam-beamlet-break.ly +++ b/input/regression/beam-beamlet-break.ly @@ -3,14 +3,14 @@ beamlets on the same height." } -\version "2.17.6" +\version "2.19.21" \paper { raggedright = ##t } -\relative c' { +\relative { \time 1/4 \override Beam.breakable = ##t - r16 r16. c32[ c16 \break c8. ] r16 + r16 r16. c'32[ c16 \break c8. ] r16 } diff --git a/input/regression/beam-beat-grouping.ly b/input/regression/beam-beat-grouping.ly index 0b70b39495..8af2e93ec7 100644 --- a/input/regression/beam-beat-grouping.ly +++ b/input/regression/beam-beat-grouping.ly @@ -7,13 +7,13 @@ signature. " \layout { ragged-right = ##t } -\version "2.16.0" +\version "2.19.21" -\relative c'' { +\relative { \time 5/16 \set beatStructure = #'(2 3) - c8[^"(2+3)" c16 c8] + c''8[^"(2+3)" c16 c8] \set beatStructure = #'(3 2) c8[^"(3+2)" c16 c8] } diff --git a/input/regression/beam-break.ly b/input/regression/beam-break.ly index 0edbf53cd7..8a07c0c510 100644 --- a/input/regression/beam-break.ly +++ b/input/regression/beam-break.ly @@ -4,10 +4,10 @@ " } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right= ##t } -\relative c'' { +\relative { \override Score.Beam.breakable = ##t - \time 3/16 c16-[ d e \break f-] + \time 3/16 c''16-[ d e \break f-] } diff --git a/input/regression/beam-broken-classic.ly b/input/regression/beam-broken-classic.ly index 22262a8561..38b30d4a86 100644 --- a/input/regression/beam-broken-classic.ly +++ b/input/regression/beam-broken-classic.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc="Some classic examples of broken beams, all taken from @@ -10,9 +10,9 @@ Scriabin Op. 11, No. 1. ragged-right = ##t } -music = \relative c'' { +music = \relative { \override Beam.breakable = ##t - r2. f8[ c \break + r2. f''8[ c \break e c f,] r8 r4 a'8[ e \break g d g,] r8 r4 f'8[ a, \break e' g, bes] r8 r4 <a' a,>8 [ d, \break diff --git a/input/regression/beam-collision-basic.ly b/input/regression/beam-collision-basic.ly index 507b5a5560..f065ab6ae4 100644 --- a/input/regression/beam-collision-basic.ly +++ b/input/regression/beam-collision-basic.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "Manual beams do not collide with notes." } @@ -8,17 +8,17 @@ indent = #0.0 } -\relative c' \new Staff { +\relative \new Staff { << \new Voice { \voiceOne - \repeat unfold 8 { c8[ c] } + \repeat unfold 8 { c'8[ c] } } - \new Voice \relative c'' { + \new Voice \relative { \voiceThree \autoBeamOff - f r e r + f'' r e r d r c r b r a r g r f r @@ -32,10 +32,10 @@ \voiceOne \repeat unfold 8 { c8[ c] } } - \new Voice \relative c'' { + \new Voice \relative { \voiceThree \autoBeamOff - f f e e + f'' f e e d d c c b b a a g g f f @@ -45,16 +45,16 @@ << \new Voice { - \repeat unfold 8 \relative c' { + \repeat unfold 8 \relative { \voiceOne - c8[ + c'8[ \voiceTwo c''] } } - \new Voice \relative c' { + \new Voice \relative { \voiceFour - s8 f + s8 f' s8 g s8 a s8 b @@ -67,7 +67,7 @@ \break << \new Voice { - \repeat unfold 8 \relative c' { + \repeat unfold 8 \relative { \voiceOne %% We must use a wider interval, otherwise the beam will be @@ -77,10 +77,10 @@ c''] } } - \new Voice \relative c' { + \new Voice \relative { \voiceFour \autoBeamOff - \stemUp f' \stemDown f, + \stemUp f'' \stemDown f, \stemUp e' \stemDown g, \stemUp d' \stemDown a \stemUp c \stemDown b diff --git a/input/regression/beam-collision-beamcount.ly b/input/regression/beam-collision-beamcount.ly index 8f499e3683..3a663558da 100644 --- a/input/regression/beam-collision-beamcount.ly +++ b/input/regression/beam-collision-beamcount.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "Manual beams do not collide with notes." } @@ -8,17 +8,17 @@ indent = #0.0 } -\relative c' \new Staff { +\relative \new Staff { << \new Voice { \voiceOne - \repeat unfold 4 { c8[ c] } + \repeat unfold 4 { c'8[ c] } } - \new Voice \relative c'' { + \new Voice \relative { \voiceThree \autoBeamOff - b r a r + b' r a r g r f r } >> @@ -30,10 +30,10 @@ \voiceOne \repeat unfold 4 { c16[ c] } } - \new Voice \relative c'' { + \new Voice \relative { \voiceThree \autoBeamOff - b r a r + b' r a r g r f r } >> diff --git a/input/regression/beam-collision-classic.ly b/input/regression/beam-collision-classic.ly index 483f74732b..620b658ebb 100644 --- a/input/regression/beam-collision-classic.ly +++ b/input/regression/beam-collision-classic.ly @@ -12,9 +12,9 @@ \new Staff { % Stockhausen (without hemiolas) - \relative c''' { + \relative { \stemUp - a8[ \clef bass es,,,, + a''8[ \clef bass es,,,, r8 <b' g'> \clef G gis'''] diff --git a/input/regression/beam-collision-flag.ly b/input/regression/beam-collision-flag.ly index cd52152d10..6613cf1ead 100644 --- a/input/regression/beam-collision-flag.ly +++ b/input/regression/beam-collision-flag.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Beams do not collide with flags. " } -\relative c' << - { \voiceOne c'8 r } \\ +\relative << + { \voiceOne c''8 r } \\ { \voiceThree c,8.[ c'16] } >> diff --git a/input/regression/beam-collision-scaled-staff.ly b/input/regression/beam-collision-scaled-staff.ly index 14ab9ae958..ebb32806ba 100644 --- a/input/regression/beam-collision-scaled-staff.ly +++ b/input/regression/beam-collision-scaled-staff.ly @@ -10,5 +10,5 @@ << \relative { e''16[ f] } \\ - \relative c''' { \autoBeamOff g b } + \relative { \autoBeamOff g'' b } >> diff --git a/input/regression/beam-concave-chord.ly b/input/regression/beam-concave-chord.ly index 6b173a7b1b..2c35727a7d 100644 --- a/input/regression/beam-concave-chord.ly +++ b/input/regression/beam-concave-chord.ly @@ -13,11 +13,11 @@ morgenliedBeam = \relative \new Voice { c16 b c e g <e b'> | } -rachmaninovBeams = \relative c' \new Voice { +rachmaninovBeams = \relative \new Voice { \voiceOne \time 4/4 \key c \minor - <c' e c'>8[ <g c g'> <c f> <ees, ees'>] ~ + <c'' e c'>8[ <g c g'> <c f> <ees, ees'>] ~ <ees ees'>8[ <c c'> <des des'> <d d'>] } diff --git a/input/regression/beam-cross-staff-slope.ly b/input/regression/beam-cross-staff-slope.ly index 0a17141e18..24844a682e 100644 --- a/input/regression/beam-cross-staff-slope.ly +++ b/input/regression/beam-cross-staff-slope.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Cross staff (kneed) beams do not cause extreme slopes." } @@ -7,10 +7,10 @@ \context PianoStaff << \new Staff = "up" - \relative c'' << + \relative << { \stemDown - f16( d b \change Staff = down \stemUp + f''16( d b \change Staff = down \stemUp \clef treble g ~ < g e>8) e[ \change Staff = up diff --git a/input/regression/beam-default-lengths.ly b/input/regression/beam-default-lengths.ly index 3008617671..6abba5f2ea 100644 --- a/input/regression/beam-default-lengths.ly +++ b/input/regression/beam-default-lengths.ly @@ -1,11 +1,11 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Beamed stems have standard lengths if possible. Quantization is switched off in this example." } -\relative c' { +\relative { \override Beam.skip-quanting = ##t - f4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f] + f'4 f8[ f] f16[ f] f32[ f] f64[ f] f128[ f] } diff --git a/input/regression/beam-extreme.ly b/input/regression/beam-extreme.ly index 21c755c255..bb7a8f81b5 100644 --- a/input/regression/beam-extreme.ly +++ b/input/regression/beam-extreme.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc=" Beams should behave reasonably well, even under extreme circumstances. @@ -14,9 +14,9 @@ under normal circumstances, these beams would get knees. Here ragged-right = ##t } -extreme = \relative c'' { +extreme = \relative { \stemNeutral - g8[ c c,] + g'8[ c c,] c16[ c'' a f] \stemUp c,,32[ c'' a f] diff --git a/input/regression/beam-feather-knee-stem-length.ly b/input/regression/beam-feather-knee-stem-length.ly index 3b350cab91..e0b1c4caf0 100644 --- a/input/regression/beam-feather-knee-stem-length.ly +++ b/input/regression/beam-feather-knee-stem-length.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.21" \header { texidoc="In feathered beams, stems in knees reach up to the feathered part correctly. @@ -8,11 +8,11 @@ \layout { ragged-right = ##t} -\relative c' { +\relative { \override Beam.grow-direction = #-1 % \hide Beam \override Stem.direction = #UP - c32[ + c'32[ \override Stem.direction = #DOWN c''32 c32 diff --git a/input/regression/beam-feather.ly b/input/regression/beam-feather.ly index 0006976c6e..8dade639bb 100644 --- a/input/regression/beam-feather.ly +++ b/input/regression/beam-feather.ly @@ -6,7 +6,7 @@ } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t @@ -18,9 +18,9 @@ % a linear decrease instead? % -\featherDurations #(ly:make-moment 3/4) \relative c'' { +\featherDurations #(ly:make-moment 3/4) \relative { \override Beam.grow-direction = #LEFT - c16[ + c''16[ c c c c c c c ] } diff --git a/input/regression/beam-french.ly b/input/regression/beam-french.ly index d0f44becdc..618732c5ee 100644 --- a/input/regression/beam-french.ly +++ b/input/regression/beam-french.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "In French style beaming, the stems do not go between beams." @@ -6,10 +6,10 @@ \layout { ragged-right= ##t } -\relative c' +\relative { \override Stem.french-beaming = ##t - c16[ c c c] + c'16[ c c c] c8[ c16 e16 f16 g16 g8] } diff --git a/input/regression/beam-funky-beamlet.ly b/input/regression/beam-funky-beamlet.ly index 31bfcb9e54..f399193e62 100644 --- a/input/regression/beam-funky-beamlet.ly +++ b/input/regression/beam-funky-beamlet.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc=" Funky kneed beams with beamlets also work. The beamlets @@ -10,9 +10,9 @@ should be pointing to the note head. \layout { ragged-right = ##t} -\relative c' { +\relative { \once \override Stem.direction = #UP - c16 + c'16 \once \override Stem.direction = #DOWN c''8 c,,16 diff --git a/input/regression/beam-funky.ly b/input/regression/beam-funky.ly index 1139907857..6c3e9c46a8 100644 --- a/input/regression/beam-funky.ly +++ b/input/regression/beam-funky.ly @@ -11,12 +11,12 @@ beam. This is in disagreement with the current algorithm." \layout { ragged-right = ##t} -\relative c' +\relative { \override Beam.auto-knee-gap = #7 \set subdivideBeams = ##t \time 8/8 - c,16[ g'''16 + c16[ g'''16 c,,,16 g'''16 c,,,16 g'''16 c,,,16 g'''16 ] diff --git a/input/regression/beam-unconnected-beamlets.ly b/input/regression/beam-unconnected-beamlets.ly index 4d8398ac6d..5b942bce23 100644 --- a/input/regression/beam-unconnected-beamlets.ly +++ b/input/regression/beam-unconnected-beamlets.ly @@ -6,9 +6,9 @@ \layout { ragged-right = ##t } -\version "2.17.6" +\version "2.19.21" -\relative c'' { +\relative { \override Stem.max-beam-connect = #1 - c16[ c16] + c''16[ c16] } diff --git a/input/regression/beamlet-test.ly b/input/regression/beamlet-test.ly index 5ec8e4b5a6..a7c3208be2 100644 --- a/input/regression/beamlet-test.ly +++ b/input/regression/beamlet-test.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = " @@ -7,9 +7,9 @@ broken beat units. This should work in tuplets as well as in ordinary time. " } -\relative c'' { +\relative { \tuplet 3/2 { - c8. c16 c8 + c''8. c16 c8 } \tuplet 3/2 { c8 c16 c8. diff --git a/input/regression/bend-after.ly b/input/regression/bend-after.ly index a5c7a81758..29f62bfe95 100644 --- a/input/regression/bend-after.ly +++ b/input/regression/bend-after.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -12,9 +12,9 @@ ragged-right = ##T } -\relative c'' { +\relative { \override Score.SpacingSpanner.shortest-duration-space = #3.0 - c4-\bendAfter #+5 + c''4-\bendAfter #+5 c4-\bendAfter #+4 c4-\bendAfter #+3 c4-\bendAfter #+2 diff --git a/input/regression/breathing-sign-custom-staff.ly b/input/regression/breathing-sign-custom-staff.ly index ecf0f65244..5b0fb52f84 100644 --- a/input/regression/breathing-sign-custom-staff.ly +++ b/input/regression/breathing-sign-custom-staff.ly @@ -1,11 +1,11 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Breathing signs are positioned correctly on custom staves which use @code{line-positions}." } -\relative c' { +\relative { \override Staff.StaffSymbol.line-positions = #'(-7 -5 -3 -1) b2 \breathe b \override BreathingSign.direction = #DOWN diff --git a/input/regression/chord-changes-alternative.ly b/input/regression/chord-changes-alternative.ly index 39f464eee9..678559ef3b 100644 --- a/input/regression/chord-changes-alternative.ly +++ b/input/regression/chord-changes-alternative.ly @@ -1,4 +1,4 @@ -\version "2.18.0" +\version "2.19.21" \header { texidoc = "Chord change detection in repeat alternatives @@ -14,8 +14,8 @@ first alternative. \chordmode { \repeat volta 3 { g1 | } \alternative { {c |} {c4 g c c |} {g2 c |} } } } \new Voice { - \relative c'' { - \repeat volta 3 { g4 f e d | } + \relative { + \repeat volta 3 { g'4 f e d | } \alternative { {c r r r |} {c g c r |} {b g c2 |} } } \bar "|." } >> diff --git a/input/regression/chord-tremolo-other-commands.ly b/input/regression/chord-tremolo-other-commands.ly index f1f2521a54..61f41b4953 100644 --- a/input/regression/chord-tremolo-other-commands.ly +++ b/input/regression/chord-tremolo-other-commands.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -11,9 +11,9 @@ right = \relative c'' { s2 } -left = \relative c' { +left = \relative { % This tremolo contains just two notes (but three lilypond events/commands!) - \repeat tremolo 4 { f,16 \change Staff = "right" f'} + \repeat tremolo 4 { f16 \change Staff = "right" f'} } \score { diff --git a/input/regression/chord-tremolo-stem-direction.ly b/input/regression/chord-tremolo-stem-direction.ly index 666a2c24e1..fd43b8ea8b 100644 --- a/input/regression/chord-tremolo-stem-direction.ly +++ b/input/regression/chord-tremolo-stem-direction.ly @@ -5,12 +5,12 @@ } -\version "2.16.0" +\version "2.19.21" \paper{ ragged-right = ##t } -\relative c { +\relative { \stemDown \repeat tremolo 16 { d32 a'32 } } diff --git a/input/regression/clef-transposition-visibility.ly b/input/regression/clef-transposition-visibility.ly index ab82c493b1..e83fb4b8a7 100644 --- a/input/regression/clef-transposition-visibility.ly +++ b/input/regression/clef-transposition-visibility.ly @@ -1,4 +1,4 @@ -\version "2.17.18" +\version "2.19.21" \header { @@ -12,11 +12,11 @@ These settings also need to apply to clefs on new lines." \layout { ragged-right = ##t } -\relative c' { +\relative { \override Staff.ClefModifier.break-visibility = #all-invisible \clef "treble_8" - c2 c | + c'2 c | c c | \break c \clef "tenor" c | \revert Staff.ClefModifier.break-visibility diff --git a/input/regression/clip-systems.ly b/input/regression/clip-systems.ly index 5757b9c8a7..330a4e36f7 100644 --- a/input/regression/clip-systems.ly +++ b/input/regression/clip-systems.ly @@ -19,15 +19,15 @@ The result will be files named } -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'clip-systems) #(define output-suffix "1") origScore = \score{ - \relative c' { + \relative { \set Staff.instrumentName = #"bla" - c1 + c'1 d \grace c16 e1 diff --git a/input/regression/collision-dots-move.ly b/input/regression/collision-dots-move.ly index 38f8d4144c..c0d28c0baf 100644 --- a/input/regression/collision-dots-move.ly +++ b/input/regression/collision-dots-move.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "If dotted note heads must remain on the left side, @@ -8,10 +8,10 @@ collision resolution moves the dots to the right." \layout { ragged-right = ##t } -\relative c { +\relative { \clef bass \override Staff.NoteCollision.prefer-dotted-right = ##t - << <b g' >4 ^"prefer-dotted-right = #t" \\ { c8. d16 } >> + << <b, g' >4 ^"prefer-dotted-right = #t" \\ { c8. d16 } >> << <b g' >4 \\ { d8. d16 } >> << <b g' >4 \\ { f'8. d16 } >> << <c a' >4 \\ { g'8. d16 } >> diff --git a/input/regression/collision-merge-differently-headed.ly b/input/regression/collision-merge-differently-headed.ly index 7876e6a7fd..e22888ebbc 100644 --- a/input/regression/collision-merge-differently-headed.ly +++ b/input/regression/collision-merge-differently-headed.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = @@ -12,10 +12,10 @@ if the black note heads are from 8th or shorter notes. \layout { ragged-right= ##t } -\context Staff \relative c'' << +\context Staff \relative << { \override Staff.NoteCollision.merge-differently-headed = ##t - c2 c8 c4. + c''2 c8 c4. c2 }\\ { diff --git a/input/regression/collision-whole.ly b/input/regression/collision-whole.ly index 3813a09265..e1601f9645 100644 --- a/input/regression/collision-whole.ly +++ b/input/regression/collision-whole.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Mixed collisions with whole and longer notes @@ -6,10 +6,10 @@ } \layout{ragged-right=##t} -\relative c'' { +\relative { \override Score.NoteHead.style = #'altdefault << - { c1 c2*2 c1 c4*4 c1 c\breve*1/2 c\breve*1/2 b\breve*1/2 } + { c''1 c2*2 c1 c4*4 c1 c\breve*1/2 c\breve*1/2 b\breve*1/2 } \\ { c2*2 c1 c4*4 c1 c\breve*1/2 c1 b\breve*1/2 c\breve*1/2 } >> diff --git a/input/regression/color.ly b/input/regression/color.ly index 8f2c608e14..6dd0a41554 100644 --- a/input/regression/color.ly +++ b/input/regression/color.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc = "Each grob can have a color assigned to it. @@ -8,11 +8,11 @@ Use the @code{\\override} and @code{\\revert} expressions to set the \paper { ragged-right = ##t } -\relative c' { +\relative { \override Accidental.color = #darkgreen \override Beam.color = #cyan \override NoteHead.color = #darkyellow - c4 + c'4 \override NoteHead.color = #red f \override NoteHead.color = #darkmagenta diff --git a/input/regression/completion-heads-unit.ly b/input/regression/completion-heads-unit.ly index 7f28cf4d31..f5f507cb80 100644 --- a/input/regression/completion-heads-unit.ly +++ b/input/regression/completion-heads-unit.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = " @@ -17,7 +17,7 @@ Note head completion may be broken into sub-bar units by setting the } } -\context Staff \relative f { +\context Staff \relative { \time 9/8 \set completionUnit = #(ly:make-moment 3/8) g'1.. r2 diff --git a/input/regression/compound-time-signature-style.ly b/input/regression/compound-time-signature-style.ly index 531536147d..55de7c0cb6 100644 --- a/input/regression/compound-time-signature-style.ly +++ b/input/regression/compound-time-signature-style.ly @@ -1,12 +1,12 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "Simple-fraction components of a compound time signature are numeric regardless of the time signature style. " } -\relative b' { - \compoundMeter #'(2 2) b1 +\relative { + \compoundMeter #'(2 2) b'1 \compoundMeter #'(4 4) b1 \compoundMeter #'((1 1) (2 2)) b\breve \compoundMeter #'((2 2) (4 4)) b\breve diff --git a/input/regression/compound-time-signatures.ly b/input/regression/compound-time-signatures.ly index 2f10281825..2437efad47 100644 --- a/input/regression/compound-time-signatures.ly +++ b/input/regression/compound-time-signatures.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Create compound time signatures. The argument is a Scheme list @@ -15,10 +15,10 @@ as @code{\\compoundMeter #'((3 2 8))} or shorter -\relative c' { +\relative { \override Staff.TimeSignature.break-visibility = ##(#f #t #t) \compoundMeter #'(1 2 3 4 8) - \repeat unfold 10 c8 \repeat unfold 20 c16 \break + \repeat unfold 10 c'8 \repeat unfold 20 c16 \break \time 3/4 \repeat unfold 6 c8 \repeat unfold 12 c16 \break diff --git a/input/regression/cue-clef-after-barline.ly b/input/regression/cue-clef-after-barline.ly index 8f222b1955..64d606fb8b 100644 --- a/input/regression/cue-clef-after-barline.ly +++ b/input/regression/cue-clef-after-barline.ly @@ -1,7 +1,7 @@ \version "2.19.21" -instrument = \relative c' { - \repeat unfold 40 { c8 } +instrument = \relative { + \repeat unfold 40 { c'8 } } \addQuote "instrQuote" \instrument diff --git a/input/regression/cue-clef-begin-of-score.ly b/input/regression/cue-clef-begin-of-score.ly index 0f9c8de1d6..b532663e28 100644 --- a/input/regression/cue-clef-begin-of-score.ly +++ b/input/regression/cue-clef-begin-of-score.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clefs for cue notes at the start of a score should print the standard clef plus a small cue clef after the time/@/key signature." } -vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } +vI = \relative { \clef "treble" \repeat unfold 40 g'4 } \addQuote vIQuote { \vI } Solo = \relative c'' { diff --git a/input/regression/cue-clef-keysignature.ly b/input/regression/cue-clef-keysignature.ly index 8e70bf18a8..a94fdecbee 100644 --- a/input/regression/cue-clef-keysignature.ly +++ b/input/regression/cue-clef-keysignature.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clefs for cue notes should not influence the printed key signature." } -vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } +vI = \relative { \clef "treble" \repeat unfold 40 g'4 } \addQuote vIQuote { \vI } \score { \new Staff { diff --git a/input/regression/cue-clef-new-line.ly b/input/regression/cue-clef-new-line.ly index cf1c1605a3..7b6e6f1969 100644 --- a/input/regression/cue-clef-new-line.ly +++ b/input/regression/cue-clef-new-line.ly @@ -10,7 +10,7 @@ Cue notes going over a line break should print the standard clef on the new line plus an additional cue clef after the time/@/key signature." } -vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } +vI = \relative { \clef "treble" \repeat unfold 40 g'4 } \addQuote vIQuote { \vI } Solo = \relative { diff --git a/input/regression/cue-clef-transposition-optional.ly b/input/regression/cue-clef-transposition-optional.ly index bf13c22974..a0a78660ee 100644 --- a/input/regression/cue-clef-transposition-optional.ly +++ b/input/regression/cue-clef-transposition-optional.ly @@ -5,7 +5,7 @@ by using parentheses or brackets around the transposition number." } -vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } +vI = \relative { \clef "treble" \repeat unfold 40 g'4 } \addQuote vIQuote { \vI } Solo = \relative { diff --git a/input/regression/cue-clef-transposition.ly b/input/regression/cue-clef-transposition.ly index 8882ef11b6..e4ebcb0654 100644 --- a/input/regression/cue-clef-transposition.ly +++ b/input/regression/cue-clef-transposition.ly @@ -4,7 +4,7 @@ texidoc = "Transposition for clefs for cue notes." } -vI = \relative c'' { \clef "treble" \repeat unfold 40 g4 } +vI = \relative { \clef "treble" \repeat unfold 40 g'4 } \addQuote vIQuote { \vI } Solo = \relative { diff --git a/input/regression/cue-clef.ly b/input/regression/cue-clef.ly index f87668ecc4..2d60544bca 100644 --- a/input/regression/cue-clef.ly +++ b/input/regression/cue-clef.ly @@ -5,7 +5,7 @@ notes and a canceling clef after the cue notes." } -vI = \relative c'' { \clef "treble" \repeat unfold 16 g4 } +vI = \relative { \clef "treble" \repeat unfold 16 g'4 } \addQuote vIQuote { \vI } Solo = \relative { diff --git a/input/regression/dot-flag-collision.ly b/input/regression/dot-flag-collision.ly index 1c649d6d20..23fa9adb6b 100644 --- a/input/regression/dot-flag-collision.ly +++ b/input/regression/dot-flag-collision.ly @@ -1,16 +1,16 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Dots move to the right when a collision with the (up)flag happens." } \layout { ragged-right = ##t} -\relative c'' +\relative { \time 8/4 \set Staff.autoBeaming = ##f - a,16. + a16. g''16. a,4. a8 a8. a16. c,16. g16. } diff --git a/input/regression/double-repeat-default-volta.ly b/input/regression/double-repeat-default-volta.ly index f560324a6c..2b4e3fddad 100644 --- a/input/regression/double-repeat-default-volta.ly +++ b/input/regression/double-repeat-default-volta.ly @@ -1,13 +1,13 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "For volte, the style of double repeats can be set using @code{doubleRepeatType}." } -\relative c' { +\relative { \repeat volta 1 { - c1 + c'1 } \mark "default" \repeat volta 1 { diff --git a/input/regression/double-repeat.ly b/input/regression/double-repeat.ly index 7718979138..1dd8da5a05 100644 --- a/input/regression/double-repeat.ly +++ b/input/regression/double-repeat.ly @@ -16,7 +16,7 @@ \bar ":|.:" c1 } - \new Staff \relative c' { - \repeat unfold 4 { c1 } + \new Staff \relative { + \repeat unfold 4 { c'1 } } >> diff --git a/input/regression/dynamics-alignment-no-line-linebreak.ly b/input/regression/dynamics-alignment-no-line-linebreak.ly index 69128631f6..8b407c5339 100644 --- a/input/regression/dynamics-alignment-no-line-linebreak.ly +++ b/input/regression/dynamics-alignment-no-line-linebreak.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Setting the style of a @code{DynamicTextSpanner} to @code{'none} @@ -6,9 +6,9 @@ to hide the line altogether should also work over line breaks. " } -\relative c'' { +\relative { \override DynamicTextSpanner.style = #'none - c2\cresc g,2 + c''2\cresc g,2 \break g2 c'2\f } diff --git a/input/regression/event-listener-output.ly b/input/regression/event-listener-output.ly index aa3d171c6b..fb9fb336f1 100644 --- a/input/regression/event-listener-output.ly +++ b/input/regression/event-listener-output.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Music events can be extracted from a score with event @@ -31,7 +31,7 @@ vlnone = \new Staff { #CENTER \override TextSpanner.bound-details.right.text = \markup { \draw-line #'(0 . -1) } -\relative c' { +\relative { \key d \major \tempo 4 = 96 diff --git a/input/regression/ferneyhough-hairpins.ly b/input/regression/ferneyhough-hairpins.ly index a49892c140..263d44fb10 100644 --- a/input/regression/ferneyhough-hairpins.ly +++ b/input/regression/ferneyhough-hairpins.ly @@ -1,13 +1,13 @@ -\version "2.19.12" +\version "2.19.21" \header { texidoc = "LilyPond creates hairpins found in Ferneyhough scores. " } -\relative c'' { +\relative { \override Hairpin.stencil = #flared-hairpin - a4\< a a a\f + a'4\< a a a\f a4\p\< a a a\ff a4\sfz\< a a a\! \override Hairpin.stencil = #constante-hairpin diff --git a/input/regression/finger-chords-dot.ly b/input/regression/finger-chords-dot.ly index 8b62bc0a3f..06cbfa0e75 100644 --- a/input/regression/finger-chords-dot.ly +++ b/input/regression/finger-chords-dot.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Scripts right of a chord avoid dots." } -\relative c' { +\relative { \set fingeringOrientations = #'(right) - <c-\rightHandFinger #1 >4.. <d-3 f>4. r8. + <c'-\rightHandFinger #1 >4.. <d-3 f>4. r8. } diff --git a/input/regression/fingering-column-snap-radius.ly b/input/regression/fingering-column-snap-radius.ly index 50faefcdab..cd78ef7d8c 100644 --- a/input/regression/fingering-column-snap-radius.ly +++ b/input/regression/fingering-column-snap-radius.ly @@ -1,4 +1,4 @@ -\version "2.17.16" +\version "2.19.21" \header { texidoc = "Horizontally-offset @code{Fingerings} align along the Y axis when @@ -6,8 +6,8 @@ they are within @code{FingeringColumn.snap-radius} of each other. " } -\relative f'' { +\relative { \set fingeringOrientations = #'(left) - <cis-1 a-1 e-1>4 + <cis''-1 a-1 e-1>4 <ceses-1 a-1 e-1>4 } diff --git a/input/regression/fingering-column.ly b/input/regression/fingering-column.ly index d4d2551b2e..673bace619 100644 --- a/input/regression/fingering-column.ly +++ b/input/regression/fingering-column.ly @@ -1,4 +1,4 @@ -\version "2.17.10" +\version "2.19.21" \header { texidoc = "Horizontal @code{Fingering} grobs that collide do not intersect. @@ -7,11 +7,11 @@ by the @code{FingeringColumn} grob. " } -\relative c'' { +\relative { \set fingeringOrientations = #'(left) \override Fingering.staff-padding = #'() \override Fingering.add-stem-support = ##f - <d-0 c-3 f,-0>4 <d-0 f,-3 e-0> + <d''-0 c-3 f,-0>4 <d-0 f,-3 e-0> <d^0 c^3 f,-0> <d^0 f,-0> <c^3 f,-0> <d-0 c-0 b-0 a-0 g-0 f-0> } diff --git a/input/regression/fingering-directions.ly b/input/regression/fingering-directions.ly index ba8d1525e5..ab6e02a81e 100644 --- a/input/regression/fingering-directions.ly +++ b/input/regression/fingering-directions.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Fingering directions in directed and undirected contexts." @@ -7,11 +7,11 @@ \layout { ragged-right= ##t } { - \relative c'' + \relative \new Voice { \tempo "\\voiceTwo" \voiceTwo - c2^5 <c^5> + c''2^5 <c^5> c_5 <c_5> c-5 <c-5> \tempo "\\oneVoice" diff --git a/input/regression/glissando-broken-multiple.ly b/input/regression/glissando-broken-multiple.ly index ce150f885d..bc1a716283 100644 --- a/input/regression/glissando-broken-multiple.ly +++ b/input/regression/glissando-broken-multiple.ly @@ -2,15 +2,15 @@ texidoc = "When broken, glissandi can span multiple lines." } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { +\relative { \override Glissando.breakable = ##t \override Glissando.after-line-breaking = ##t - d1\glissando + d''1\glissando \break s1 \break s1 \break s1 diff --git a/input/regression/glissando-broken-unkilled.ly b/input/regression/glissando-broken-unkilled.ly index 29659bac61..41fd3f1f03 100644 --- a/input/regression/glissando-broken-unkilled.ly +++ b/input/regression/glissando-broken-unkilled.ly @@ -1,14 +1,14 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Broken glissandi anticipate the pitch on the next line." } \score { - \relative c' { + \relative { \override Glissando.after-line-breaking = ##t \override Glissando.breakable = ##t - c1\glissando + c'1\glissando \break c'1 \break @@ -22,10 +22,10 @@ } \score { - \relative c' { + \relative { \override Glissando.after-line-breaking = ##t \override Glissando.breakable = ##t - c1\glissando + c'1\glissando \break c'1 \break diff --git a/input/regression/glissando-broken.ly b/input/regression/glissando-broken.ly index baf5993d99..80297f8a41 100644 --- a/input/regression/glissando-broken.ly +++ b/input/regression/glissando-broken.ly @@ -2,13 +2,13 @@ texidoc = "If broken, Glissandi anticipate on the pitch of the next line." } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##T } -\relative c'' { +\relative { \override Glissando.breakable = ##t - d1 \glissando | + d''1 \glissando | \break c,1 } diff --git a/input/regression/glissando-index.ly b/input/regression/glissando-index.ly index 5611773909..4040202c27 100644 --- a/input/regression/glissando-index.ly +++ b/input/regression/glissando-index.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Individual glissandi within a chord can be tweaked." } -\relative c' { +\relative { \once \override Voice.Glissando.style = #(lambda (grob) (if (= 1 (ly:grob-property grob 'glissando-index)) 'zigzag 'default)) - <d f a>1 \glissando s1 <f a c> + <d' f a>1 \glissando s1 <f a c> } diff --git a/input/regression/grace-direction-polyphony.ly b/input/regression/grace-direction-polyphony.ly index 49788a6062..3725d2a2f6 100644 --- a/input/regression/grace-direction-polyphony.ly +++ b/input/regression/grace-direction-polyphony.ly @@ -4,10 +4,10 @@ finishing the grace section." } -\version "2.16.0" +\version "2.19.21" -\relative c''' { +\relative { \voiceOne - c4 + c'''4 \grace d8 c4 } diff --git a/input/regression/grace-volta-repeat-2.ly b/input/regression/grace-volta-repeat-2.ly index 1a150fcc8a..b139991588 100644 --- a/input/regression/grace-volta-repeat-2.ly +++ b/input/regression/grace-volta-repeat-2.ly @@ -1,4 +1,4 @@ -\version "2.17.5" +\version "2.19.21" \header { @@ -9,9 +9,9 @@ \layout { ragged-right= ##t } -\relative c' { +\relative { \repeat volta 2 { - c1 + c'1 } \repeat volta 2 { \grace {c8 } c4 diff --git a/input/regression/hairpin-circled.ly b/input/regression/hairpin-circled.ly index 2da785101c..bee36fb2d7 100644 --- a/input/regression/hairpin-circled.ly +++ b/input/regression/hairpin-circled.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -9,9 +9,9 @@ followed by a crescendo al niente should only print one circle." \layout { ragged-right = ##t } -\relative c'' { +\relative { \override Hairpin.circled-tip = ##t - c1\< d\! d\> c\! + c''1\< d\! d\> c\! \override Hairpin.to-barline = ##f e\> c\< d\! \break c\< \break diff --git a/input/regression/hairpin-dashed.ly b/input/regression/hairpin-dashed.ly index 8e860fa22a..4754d34c6b 100644 --- a/input/regression/hairpin-dashed.ly +++ b/input/regression/hairpin-dashed.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc ="Hairpin crescendi may be dashed. " @@ -6,7 +6,7 @@ } -\relative c' { +\relative { \override Hairpin.style = #'dashed-line - f2\< g c1 d4\> b a gis\! } + f'2\< g c1 d4\> b a gis\! } diff --git a/input/regression/hairpin-ending.ly b/input/regression/hairpin-ending.ly index 3c70b07330..c428efb628 100644 --- a/input/regression/hairpin-ending.ly +++ b/input/regression/hairpin-ending.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -11,9 +11,9 @@ into them." \layout { ragged-right = ##t } -\relative c'' { +\relative { \override Score.PaperColumn.keep-inside-line = ##f - c4 \> c4 c4\! c4_\ff \> c4 c4\!\p + c''4 \> c4 c4\! c4_\ff \> c4 c4\!\p << { c\< c\! } diff --git a/input/regression/hairpin-neighboring-span-dynamics.ly b/input/regression/hairpin-neighboring-span-dynamics.ly index 9527267ff7..05557af9e0 100644 --- a/input/regression/hairpin-neighboring-span-dynamics.ly +++ b/input/regression/hairpin-neighboring-span-dynamics.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Bound padding for hairpins also applies before following @@ -7,9 +7,9 @@ is not scaled down. " } -\relative c' { +\relative { \override Hairpin.to-barline = ##f - c2\> + c'2\> \dimTextDim c2\> \dimHairpin diff --git a/input/regression/hairpin-span-bar.ly b/input/regression/hairpin-span-bar.ly index 43129b4368..2a95016298 100644 --- a/input/regression/hairpin-span-bar.ly +++ b/input/regression/hairpin-span-bar.ly @@ -15,7 +15,7 @@ >> \new GrandStaff << \new Staff \relative { a'^\< a a a a a a a a a a a\! } - \new Staff \relative c'' { \repeat unfold 12 a4 } + \new Staff \relative { \repeat unfold 12 a'4 } >> \new GrandStaff << \new Staff \relative { a'4 a a a s1 a4 a a a } diff --git a/input/regression/hairpin-to-barline.ly b/input/regression/hairpin-to-barline.ly index be083aaacf..b9c69948fd 100644 --- a/input/regression/hairpin-to-barline.ly +++ b/input/regression/hairpin-to-barline.ly @@ -5,9 +5,9 @@ should end at that bar line. " } -\version "2.17.6" +\version "2.19.21" -\relative c'' { +\relative { \override Hairpin.bound-padding = #1.0 - c4\< c2. c4\! + c''4\< c2. c4\! } diff --git a/input/regression/harp-pedals-sanity-checks.ly b/input/regression/harp-pedals-sanity-checks.ly index e239adc6bb..f3e8dd5e9f 100644 --- a/input/regression/harp-pedals-sanity-checks.ly +++ b/input/regression/harp-pedals-sanity-checks.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "Harp pedal diagram contains dividers at positions ~a. Normally, there is only one divider after the third pedal.") '(1 3 5)) @@ -13,10 +13,10 @@ the diagrams here violate the standard (7 pedals with divider after third), so a warning is printed out, but they should still look okay." } -\relative c'' { +\relative { \override Score.PaperColumn.keep-inside-line = ##f % Sanity checks: #pedals != 7: - c1^\markup \harp-pedal #"^-v|--" + c''1^\markup \harp-pedal #"^-v|--" % Sanity checks: no divider, multiple dividers, divider on wrong position: c1^\markup \harp-pedal #"^-v--v^" c1^\markup \harp-pedal #"^|-v|--|v^" diff --git a/input/regression/harp-pedals-tweaking.ly b/input/regression/harp-pedals-tweaking.ly index d071833768..b835d21a28 100644 --- a/input/regression/harp-pedals-tweaking.ly +++ b/input/regression/harp-pedals-tweaking.ly @@ -1,16 +1,16 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Harp pedals can be tweaked through the size, thickness and harp-pedal-details properties of TextScript." } -\relative c'' { +\relative { \override Score.PaperColumn.keep-inside-line = ##f \override Voice.TextScript.harp-pedal-details.box-width = #1 \once \override Voice.TextScript.size = #1.5 \once \override Voice.TextScript.thickness = #7 - c1^\markup \harp-pedal #"o^ovo-|vovo-o^" + c''1^\markup \harp-pedal #"o^ovo-|vovo-o^" c1^\markup \override #'(harp-pedal-details . ( (box-width . 0.6) (box-height . 0.3) diff --git a/input/regression/instrument-name-dynamic.ly b/input/regression/instrument-name-dynamic.ly index 15f3f43e60..a5ee9cdf24 100644 --- a/input/regression/instrument-name-dynamic.ly +++ b/input/regression/instrument-name-dynamic.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " @@ -11,9 +11,9 @@ indent = 0\cm } -\relative c' { +\relative { \set Staff.shortInstrumentName = "foo" - f1 | f1 | f1 | + f'1 | f1 | f1 | f1\< | f1 | f1\! | } diff --git a/input/regression/instrument-name-partial.ly b/input/regression/instrument-name-partial.ly index 0ce9495f9e..fb95606568 100644 --- a/input/regression/instrument-name-partial.ly +++ b/input/regression/instrument-name-partial.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Instrument names are also printed on partial starting measures." } @@ -8,7 +8,7 @@ -\relative c'' { \set Staff.instrumentName = "foo" \partial 4 c4 c1 } +\relative { \set Staff.instrumentName = "foo" \partial 4 c''4 c1 } diff --git a/input/regression/instrument-name-volta.ly b/input/regression/instrument-name-volta.ly index 9110d07fa4..c84ef3eda1 100644 --- a/input/regression/instrument-name-volta.ly +++ b/input/regression/instrument-name-volta.ly @@ -1,13 +1,13 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Moving the @code{Volta_engraver} to the @code{Staff} context does not affect @code{InstrumentName} alignment." } -testMusik = \relative c'' { +testMusik = \relative { \repeat volta 2 { - c1 \break + c''1 \break } \alternative { { c1 \break } { c1 \break } @@ -15,10 +15,10 @@ testMusik = \relative c'' { } \score { - \new Staff \relative c' { + \new Staff \relative { \set Staff.shortInstrumentName = #"Instr." \repeat volta 2 { - c1 \break + c'1 \break } \alternative { { c1 \break } diff --git a/input/regression/key-signature-scordatura-persist.ly b/input/regression/key-signature-scordatura-persist.ly index 1bae1b68fa..0a721ba68c 100644 --- a/input/regression/key-signature-scordatura-persist.ly +++ b/input/regression/key-signature-scordatura-persist.ly @@ -1,4 +1,4 @@ -\version "2.19.7" +\version "2.19.21" \header { texidoc = "When a custom key signature has entries which are @@ -10,10 +10,10 @@ octave defined in @code{keyAlterations}. " } -\relative c' { +\relative { \set Staff.keyAlterations = #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT)) - fis fis as bes + fis' fis as bes fis' as, as bes } diff --git a/input/regression/key-signature-scordatura.ly b/input/regression/key-signature-scordatura.ly index 547fe7688e..5954f2c013 100644 --- a/input/regression/key-signature-scordatura.ly +++ b/input/regression/key-signature-scordatura.ly @@ -1,5 +1,5 @@ -\version "2.19.7" +\version "2.19.21" \header { texidoc = "By setting @code{Staff.keyAlterations} directly, key signatures can be set invidually per pitch. @@ -9,10 +9,10 @@ key signatures can be set invidually per pitch. \layout { ragged-right = ##T } -\relative c' +\relative \new Staff { \set Staff.keyAlterations = #`(((0 . 3) . ,FLAT) ((1 . 2) . ,SHARP)) - f8 a c e + f'8 a c e \set Staff.keyAlterations = #`(((0 . 4) . ,DOUBLE-SHARP) ((1 . 2) . ,FLAT)) e a, g a } diff --git a/input/regression/keys.ly b/input/regression/keys.ly index 3ede492846..209a3469f1 100644 --- a/input/regression/keys.ly +++ b/input/regression/keys.ly @@ -1,5 +1,5 @@ -\version "2.19.7" +\version "2.19.21" \header{ texidoc=" Key signatures may appear on key changes, even without a barline. @@ -15,10 +15,10 @@ are created also on a clef change. ragged-right = ##T } -\relative c' +\relative { \set Staff.createKeyOnClefChange = ##t - \key bes \major c2 + \key bes \major c'2 % \key c \major % \minor \key es \major % \minor c2 diff --git a/input/regression/line-arrows.ly b/input/regression/line-arrows.ly index 1b3bccc8a3..9cfa449154 100644 --- a/input/regression/line-arrows.ly +++ b/input/regression/line-arrows.ly @@ -2,13 +2,13 @@ texidoc = "Arrows can be applied to text-spanners and line-spanners (such as the Glissando)" } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { +\relative { \override TextSpanner.bound-padding = #1.0 \override TextSpanner.style = #'line \override TextSpanner.bound-details.right.arrow = ##t @@ -23,6 +23,6 @@ \override Glissando.arrow-length = #0.5 \override Glissando.arrow-width = #0.25 - a8\startTextSpan gis8 a4 b4\glissando + a'8\startTextSpan gis8 a4 b4\glissando b,4 | g' c\stopTextSpan c } diff --git a/input/regression/line-style.ly b/input/regression/line-style.ly index 2d77edd91d..c3452d7439 100644 --- a/input/regression/line-style.ly +++ b/input/regression/line-style.ly @@ -1,14 +1,14 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Cover all line styles available." } -\relative c'' { +\relative { \override Glissando.breakable = ##t s2 - d2 \glissando d'2 + d''2 \glissando d'2 \override Glissando.style = #'dashed-line d,2 \glissando d'2 \override Glissando.style = #'dotted-line diff --git a/input/regression/lyric-combine-new.ly b/input/regression/lyric-combine-new.ly index b01227ac9a..76d2bd77dc 100644 --- a/input/regression/lyric-combine-new.ly +++ b/input/regression/lyric-combine-new.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "With the @code{\\lyricsto} mechanism, individual lyric lines can be associated with one melody line. Each lyric line @@ -7,9 +7,9 @@ can be tuned to either follow or ignore melismata." << - \new Voice = "bla" \relative c'' { + \new Voice = "bla" \relative { \autoBeamOff - c2( d4) e8[ c b c] f4 + c''2( d4) e8[ c b c] f4 } \new Lyrics \lyricsto "bla" { bla ab blob blob } \new Lyrics \lyricsto "bla" { diff --git a/input/regression/lyric-combine-switch-voice.ly b/input/regression/lyric-combine-switch-voice.ly index ccf444b682..4e6fd50bc5 100644 --- a/input/regression/lyric-combine-switch-voice.ly +++ b/input/regression/lyric-combine-switch-voice.ly @@ -5,12 +5,12 @@ if the switch occurs together with context instantiation." } -\version "2.17.15" +\version "2.19.21" << - \relative c' \new Voice = "lahlah" { + \relative \new Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \new Voice = "alternative" { \voiceOne diff --git a/input/regression/lyric-combine.ly b/input/regression/lyric-combine.ly index fff2e9cbcd..1f635e638c 100644 --- a/input/regression/lyric-combine.ly +++ b/input/regression/lyric-combine.ly @@ -17,9 +17,9 @@ lyrics ignore any other rhythms in the piece." -m = \relative c'' { +m = \relative { \autoBeamOff - g8( a) r8 \tuplet 3/2 { g'8( f e) } r8 \grace { d16[ c b] } e4 + g'8( a) r8 \tuplet 3/2 { g'8( f e) } r8 \grace { d16[ c b] } e4 \textLengthOff d8.^"melisma" \melisma c16 \melismaEnd diff --git a/input/regression/lyric-extender-completion.ly b/input/regression/lyric-extender-completion.ly index 66e744594a..7b920a1c08 100644 --- a/input/regression/lyric-extender-completion.ly +++ b/input/regression/lyric-extender-completion.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { @@ -8,7 +8,7 @@ << -\new Staff \relative c' { +\new Staff \relative { \new Voice = "upper" { \voiceTwo g'1( | diff --git a/input/regression/lyric-melisma-manual.ly b/input/regression/lyric-melisma-manual.ly index d366988cc2..f237e9cc8e 100644 --- a/input/regression/lyric-melisma-manual.ly +++ b/input/regression/lyric-melisma-manual.ly @@ -1,13 +1,13 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Melismata may be entered manually by substituting @code{_} for lyrics on notes that are part of the melisma." } -\relative c' { +\relative { \set melismaBusyProperties = #'() - c4 d( e) f + c'4 d( e) f f4( e) e e } \addlyrics { diff --git a/input/regression/lyric-phrasing.ly b/input/regression/lyric-phrasing.ly index 3d16224aeb..4865b114a2 100644 --- a/input/regression/lyric-phrasing.ly +++ b/input/regression/lyric-phrasing.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = " @@ -14,9 +14,9 @@ << - \relative c' \new Voice = "bla" { + \relative \new Voice = "bla" { \autoBeamOff - c4( c16 d c b) c4 + c'4( c16 d c b) c4 d16[ e f g] } diff --git a/input/regression/lyrics-aligned-above-stay-close-to-staff.ly b/input/regression/lyrics-aligned-above-stay-close-to-staff.ly index addf34a092..39ba74c47f 100644 --- a/input/regression/lyrics-aligned-above-stay-close-to-staff.ly +++ b/input/regression/lyrics-aligned-above-stay-close-to-staff.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { title = "Aligned-above lyrics should stay close to their staff" @@ -10,7 +10,7 @@ Bass staff. \paper { ragged-last-bottom = ##f } -tune = \relative c { \repeat unfold 2 { c4( e) g2 | \break c1 } +tune = \relative { \repeat unfold 2 { c4( e) g2 | \break c1 } \bar "|." } \score { diff --git a/input/regression/lyrics-melisma-beam.ly b/input/regression/lyrics-melisma-beam.ly index b3f99228b6..78a3aac6de 100644 --- a/input/regression/lyrics-melisma-beam.ly +++ b/input/regression/lyrics-melisma-beam.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Melismata are triggered by manual beams. Notes in a @@ -12,9 +12,9 @@ << \new Staff - \relative c'' { + \relative { \set Staff.autoBeaming = ##f - g4 d8[ b8 d8 g8] g4 + g'4 d8[ b8 d8 g8] g4 } \new Lyrics \lyricsto "" { bla blaa -- bla } >> diff --git a/input/regression/markup-score.ly b/input/regression/markup-score.ly index ffac9f2e68..4b00e72aa2 100644 --- a/input/regression/markup-score.ly +++ b/input/regression/markup-score.ly @@ -2,7 +2,7 @@ texidoc = "Use \\score block as markup command." } -\version "2.17.11" +\version "2.19.21" tuning = \markup { \score { @@ -22,9 +22,9 @@ tuning = \markup { subsubtitle = \markup { "Originalstimmung:" \tuning } } -\relative c'' { +\relative { \time 4/8 - \tuplet 3/2 { c8 d e } \tuplet 3/2 {c d e} + \tuplet 3/2 { c''8 d e } \tuplet 3/2 {c d e} \tuplet 3/2 { c8 d e } \tuplet 3/2 {c d e} g8 a8 g8 a g8 a8 g8 a diff --git a/input/regression/metronome-marking-align-order.ly b/input/regression/metronome-marking-align-order.ly index 21410c6e6c..e2ed15d299 100644 --- a/input/regression/metronome-marking-align-order.ly +++ b/input/regression/metronome-marking-align-order.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Metronome marks respect symbol order in @@ -16,12 +16,12 @@ measure. ragged-right = ##t } -\relative c' { +\relative { \override Staff.KeySignature.break-align-anchor-alignment = #LEFT \override Score.MetronomeMark.break-align-symbols = #'(time-signature key-signature) \key c \minor \tempo "Time" - c1 + c'1 \key as \major \tempo "Key" c1 diff --git a/input/regression/metronome-marking-break-align.ly b/input/regression/metronome-marking-break-align.ly index 90e99212b8..e8275d2176 100644 --- a/input/regression/metronome-marking-break-align.ly +++ b/input/regression/metronome-marking-break-align.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "@code{\\tempo} marks are aligned with the time signature @@ -16,9 +16,9 @@ with the preceding bar line. line-width = 50\mm } -\relative c' { +\relative { \tempo "T-first" - c1 + c'1 \mark \default \tempo "T-note" c1 \break diff --git a/input/regression/metronome-parenthesized.ly b/input/regression/metronome-parenthesized.ly index f4c3f8cd26..d2740a5217 100644 --- a/input/regression/metronome-parenthesized.ly +++ b/input/regression/metronome-parenthesized.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" @@ -6,9 +6,9 @@ Using an empty text in the metronome marks, one can generate parenthesized tempo " } -\relative c'' { +\relative { \tempo 4=60 - c1 + c''1 \tempo "" 4=80 c1 } diff --git a/input/regression/metronome-text.ly b/input/regression/metronome-text.ly index 2dacf798c0..2f02d1c141 100644 --- a/input/regression/metronome-text.ly +++ b/input/regression/metronome-text.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header{ texidoc=" @@ -7,8 +7,8 @@ The tempo command supports text markup and/@/or `duration=count'. Using " } -\relative c'' { - \tempo "Allegro" c1 +\relative { + \tempo "Allegro" c''1 \tempo "Allegro" c1 $(make-event-chord (list (make-music 'TempoChangeEvent 'text "blah"))) diff --git a/input/regression/midi-dynamics.ly b/input/regression/midi-dynamics.ly index 05f0b9b282..05280c9e44 100644 --- a/input/regression/midi-dynamics.ly +++ b/input/regression/midi-dynamics.ly @@ -5,14 +5,14 @@ } -\version "2.16.0" +\version "2.19.21" \score { - \relative c' { + \relative { \set midiMinimumVolume = #0.0 \set midiMaximumVolume = #1.0 - c\ff c\pppp + c'\ff c\pppp c\ff\> c c c c\!\pppp c\< c c c c\! \ff diff --git a/input/regression/midi-volume-equaliser.ly b/input/regression/midi-volume-equaliser.ly index fe2404bdda..d411c13c0a 100644 --- a/input/regression/midi-volume-equaliser.ly +++ b/input/regression/midi-volume-equaliser.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@cindex Midi Volume Equaliser The full orchestra plays a note, where groups stop one after @@ -20,75 +20,75 @@ Override, see scm/midi.scm: %} -flauti = \relative c' { +flauti = \relative { \set Staff.midiInstrument = #"flute" - c1\f R1*10 + c'1\f R1*10 } -oboi = \relative c' { +oboi = \relative { \set Staff.midiInstrument = #"oboe" - R1*1 c1\f R1*9 + R1*1 c'1\f R1*9 } -clarinetti = \relative c' { +clarinetti = \relative { \set Staff.midiInstrument = #"clarinet" - R1*2 c1\f R1*8 + R1*2 c'1\f R1*8 } -fagotti = \relative c' { +fagotti = \relative { \set Staff.midiInstrument = #"bassoon" \clef bass - R1*3 c1\f R1*7 + R1*3 c'1\f R1*7 } -corni = \relative c' { +corni = \relative { \set Staff.midiInstrument = #"french horn" - R1*4 c1\f R1*6 + R1*4 c'1\f R1*6 } -trombe = \relative c' { +trombe = \relative { \set Staff.midiInstrument = #"trumpet" \clef bass - R1*5 c1\f R1*5 + R1*5 c'1\f R1*5 } -timpani = \relative c' { +timpani = \relative { \set Staff.midiInstrument = #"timpani" - R1*6 c1\f R1*4 + R1*6 c'1\f R1*4 } -violinoI = \relative c' { +violinoI = \relative { \set Staff.midiInstrument = #"violin" - R1*7 c1\f R1*3 + R1*7 c'1\f R1*3 } -violinoII = \relative c' { +violinoII = \relative { \set Staff.midiInstrument = #"violin" - R1*8 c1\f R1*2 + R1*8 c'1\f R1*2 } -viola = \relative c' { +viola = \relative { \set Staff.midiInstrument = #"viola" \clef alto - R1*9 c1\f R1*1 + R1*9 c'1\f R1*1 } -violoncello = \relative c' { +violoncello = \relative { \set Staff.midiInstrument = #"cello" %\set Staff.midiInstrument = #"contrabass" \clef bass - R1*10 c1\f + R1*10 c'1\f } diff --git a/input/regression/midi/key-initial.ly b/input/regression/midi/key-initial.ly index 9dfe77b721..c2a14ae1da 100644 --- a/input/regression/midi/key-initial.ly +++ b/input/regression/midi/key-initial.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out/initial-key.midi -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -46,7 +46,7 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { \set Staff.instrumentName = "trackB:voiceA" d'4 e f g diff --git a/input/regression/midi/key-option.ly b/input/regression/midi/key-option.ly index 1978cc50c2..8028609900 100644 --- a/input/regression/midi/key-option.ly +++ b/input/regression/midi/key-option.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out-www/option-key.midi -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -44,7 +44,7 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { \set Staff.instrumentName = "trackB:voiceA" f'4 g a bes diff --git a/input/regression/midi/rest.ly b/input/regression/midi/rest.ly index 4aa3de56dd..3b770e9a91 100644 --- a/input/regression/midi/rest.ly +++ b/input/regression/midi/rest.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out-www/rest.midi -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -43,10 +43,10 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { r4 \set Staff.instrumentName = "trackB:voiceA" - a r4 a + a, r4 a | % 2 } diff --git a/input/regression/midi/staff-map-instrument.ly b/input/regression/midi/staff-map-instrument.ly index ce24b42cf1..1fae74c799 100644 --- a/input/regression/midi/staff-map-instrument.ly +++ b/input/regression/midi/staff-map-instrument.ly @@ -10,21 +10,21 @@ options="" << \context Staff = "treble" << \set Score.midiChannelMapping = #'instrument - \context Voice="one" \relative c'' { + \context Voice="one" \relative { \time 4/4 \key c \minor \voiceOne %comes %7 - f8 es16 d c16 bes ! as g f8 as' g f + f''8 es16 d c16 bes ! as g f8 as' g f %8 es8 d es f b, c d b | f,16 g as4 g16 f e2 | } - \context Voice="two" \relative c'' { + \context Voice="two" \relative { \voiceTwo %dux %7 - c4 r4 r8 f es d | + c''4 r4 r8 f es d | %8 r8 as g f g f16 es f8 d | <b, d>8 r <b d> r <g c>2 | } diff --git a/input/regression/midi/staff-map-voice.ly b/input/regression/midi/staff-map-voice.ly index 90d9c3ac68..114f37d3a9 100644 --- a/input/regression/midi/staff-map-voice.ly +++ b/input/regression/midi/staff-map-voice.ly @@ -10,21 +10,21 @@ options="" << \context Staff = "treble" << \set Score.midiChannelMapping = #'voice - \context Voice="one" \relative c'' { + \context Voice="one" \relative { \time 4/4 \key c \minor \voiceOne %comes %7 - f8 es16 d c16 bes ! as g f8 as' g f + f''8 es16 d c16 bes ! as g f8 as' g f %8 es8 d es f b, c d b | f,16 g as4 g16 f e2 | } - \context Voice="two" \relative c'' { + \context Voice="two" \relative { \voiceTwo %dux %7 - c4 r4 r8 f es d | + c''4 r4 r8 f es d | %8 r8 as g f g f16 es f8 d | <b, d>8 r <b d> r <g c>2 | } diff --git a/input/regression/midi/voice-2.ly b/input/regression/midi/voice-2.ly index be0c4f5bee..3bcd1f83af 100644 --- a/input/regression/midi/voice-2.ly +++ b/input/regression/midi/voice-2.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out-www/voice-2.midi -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -43,7 +43,7 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { \voiceOne \set Staff.instrumentName = ":1" @@ -52,7 +52,7 @@ trackBchannelA = \relative c { } -trackBchannelB = \relative c { +trackBchannelB = \relative { \voiceTwo f' f f f | % 2 diff --git a/input/regression/midi/voice-4.ly b/input/regression/midi/voice-4.ly index 7ca89e9385..dfd2a603ab 100644 --- a/input/regression/midi/voice-4.ly +++ b/input/regression/midi/voice-4.ly @@ -1,5 +1,5 @@ % Lily was here -- automatically converted by ../../../scripts/midi2ly.py from out-www/voice-4.midi -\version "2.16.0" +\version "2.19.21" \layout { \context { @@ -43,7 +43,7 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { \voiceOne \set Staff.instrumentName = ":1" @@ -52,21 +52,21 @@ trackBchannelA = \relative c { } -trackBchannelB = \relative c { +trackBchannelB = \relative { \voiceThree c''4. d8 e4 f | % 2 } -trackBchannelC = \relative c { +trackBchannelC = \relative { \voiceFour d'1 | % 2 } -trackBchannelD = \relative c { +trackBchannelD = \relative { \voiceTwo c'4 c2 c4 | % 2 diff --git a/input/regression/midi/voice-5.ly b/input/regression/midi/voice-5.ly index f35f3c403f..64fa7b6609 100644 --- a/input/regression/midi/voice-5.ly +++ b/input/regression/midi/voice-5.ly @@ -43,7 +43,7 @@ trackA = << >> -trackBchannelA = \relative c { +trackBchannelA = \relative { \voiceOne \set Staff.instrumentName = ":1" @@ -52,21 +52,21 @@ trackBchannelA = \relative c { } -trackBchannelB = \relative c { +trackBchannelB = \relative { \voiceThree c''4. d8 e4 f | % 2 } -trackBchannelC = \relative c { +trackBchannelC = \relative { \voiceFour d'1 | % 2 } -trackBchannelD = \relative c { +trackBchannelD = \relative { \voiceTwo c'4 c2 c4 | % 2 diff --git a/input/regression/mozart-hrn3-rondo.ily b/input/regression/mozart-hrn3-rondo.ily index d62ab572df..df699aacf7 100644 --- a/input/regression/mozart-hrn3-rondo.ily +++ b/input/regression/mozart-hrn3-rondo.ily @@ -20,7 +20,7 @@ lipbreaker = \relative { c[ c c] c[ c c] } -rondo = \relative c' { +rondo = \relative { \partial 8 \time 6/8 \key c \major diff --git a/input/regression/no-staff.ly b/input/regression/no-staff.ly index 7d18f1af19..7d3ad7ef91 100644 --- a/input/regression/no-staff.ly +++ b/input/regression/no-staff.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" % possible rename to staff-something. -gp \header{ texidoc = "@cindex Staff Remove @@ -11,12 +11,12 @@ corresponding engraver. ragged-right = ##t } -\relative c' \new Staff \with { +\relative \new Staff \with { \remove "Staff_symbol_engraver" \consists "Pitch_squash_engraver" \remove "Clef_engraver" } { - c4 d4 e8 d8 + c'4 d4 e8 d8 } diff --git a/input/regression/override-nest-scheme.ly b/input/regression/override-nest-scheme.ly index 03a710b679..f658a529c5 100644 --- a/input/regression/override-nest-scheme.ly +++ b/input/regression/override-nest-scheme.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "A sublist of grob property lists may be overridden within a callback. @@ -6,11 +6,11 @@ of the right bound of the glissando spanner." } -\relative c' { +\relative { \override Glissando.after-line-breaking = #(lambda (grob) (ly:grob-set-nested-property! grob '(bound-details right Y) 3)) - c1 \glissando + c'1 \glissando d1 } diff --git a/input/regression/override-nest.ly b/input/regression/override-nest.ly index 117e6c2447..ba5ed09062 100644 --- a/input/regression/override-nest.ly +++ b/input/regression/override-nest.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Sublist of grob property lists may be also tuned. In the @@ -6,9 +6,9 @@ next example, the @code{beamed-lengths} property of the @code{Stem} grob is tweaked." } -\relative c' { +\relative { \override Stem.details.beamed-lengths = #'(6 10 8) - c8[ c] c16[ c] c32[ c] + c'8[ c] c16[ c] c32[ c] \revert Stem.details.beamed-lengths c8[ c] c16[ c] c32[ c] } diff --git a/input/regression/page-breaks.ly b/input/regression/page-breaks.ly index e47a85f142..441579a44a 100644 --- a/input/regression/page-breaks.ly +++ b/input/regression/page-breaks.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -76,7 +76,7 @@ \book { \score { - \new Staff \relative c' { + \new Staff \relative { %% 19: ideally cramped %% Calculating page breaks...[6][11][16] %%\repeat unfold 19 { a b c d \break } diff --git a/input/regression/page-headers-and-footers.ly b/input/regression/page-headers-and-footers.ly index f50c73c822..01e154160a 100644 --- a/input/regression/page-headers-and-footers.ly +++ b/input/regression/page-headers-and-footers.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -38,7 +38,7 @@ \book { \score { - \new Staff \relative c' { + \new Staff \relative { \repeat unfold 18 { a b c d \break } } } diff --git a/input/regression/page-layout.ly b/input/regression/page-layout.ly index 655d34a6d9..4eafd885a0 100644 --- a/input/regression/page-layout.ly +++ b/input/regression/page-layout.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" @@ -45,18 +45,18 @@ This file is best viewed outside the collated files document. \book { \score { - \relative c'' { + \relative { \repeat unfold 10 { - \repeat unfold 4 {c4} + \repeat unfold 4 {c''4} } } \header {piece = "Piece I"} \layout {line-width = 13\cm} } \score { - \relative c'' { + \relative { \repeat unfold 10 { - \repeat unfold 4 {c4} + \repeat unfold 4 {c''4} } } \header { diff --git a/input/regression/page-spacing-system-count.ly b/input/regression/page-spacing-system-count.ly index 4c2c60ac0d..935baf8ead 100644 --- a/input/regression/page-spacing-system-count.ly +++ b/input/regression/page-spacing-system-count.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Page layout and stretching work with system-count enabled." @@ -14,9 +14,9 @@ \book { \score { << - \relative c'' { \repeat unfold 10 c1 } - \relative c'' { \repeat unfold 10 c1 } - \relative c'' { \repeat unfold 10 c1 } + \relative { \repeat unfold 10 c''1 } + \relative { \repeat unfold 10 c''1 } + \relative { \repeat unfold 10 c''1 } >> } } diff --git a/input/regression/page-turn-page-breaking-auto-first-page.ly b/input/regression/page-turn-page-breaking-auto-first-page.ly index fcee7676c8..e766c885e3 100644 --- a/input/regression/page-turn-page-breaking-auto-first-page.ly +++ b/input/regression/page-turn-page-breaking-auto-first-page.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "By default, we start with page 1, which is on the right hand side @@ -17,6 +17,6 @@ number to 2 in order to avoid a bad page turn." \book { \score { - \relative c' {\repeat unfold 60 {a b c d}} + \relative {\repeat unfold 60 {a b c d}} } } diff --git a/input/regression/page-turn-page-breaking-repeats.ly b/input/regression/page-turn-page-breaking-repeats.ly index f007c9ba90..3c5d0a6dc4 100644 --- a/input/regression/page-turn-page-breaking-repeats.ly +++ b/input/regression/page-turn-page-breaking-repeats.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "The page-turn engraver will not count potential page @@ -23,7 +23,7 @@ long gap at the beginning or at the end of the repeat. } \score { - \relative c' { + \relative { \set Score.skipBars = ##t % this should be kept on one page \repeat volta 2 { diff --git a/input/regression/paper-margins-consistency.ly b/input/regression/paper-margins-consistency.ly index 3bb25d7907..91a13d5468 100644 --- a/input/regression/paper-margins-consistency.ly +++ b/input/regression/paper-margins-consistency.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "margins do not fit with line-width, setting default values")) @@ -9,7 +9,7 @@ line-width + left-margin + right-margin. In case they do not, default margins are set and a warning is printed." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { left-margin = 20 \mm diff --git a/input/regression/paper-margins-left-margin.ly b/input/regression/paper-margins-left-margin.ly index 8444b78fad..524509eadd 100644 --- a/input/regression/paper-margins-left-margin.ly +++ b/input/regression/paper-margins-left-margin.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Here only left-margin is given, right-margin will remain default." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { #(set-paper-size (ly:get-option 'paper-size)) diff --git a/input/regression/paper-margins-line-width.ly b/input/regression/paper-margins-line-width.ly index d32cbd5f50..2a0fffc6c5 100644 --- a/input/regression/paper-margins-line-width.ly +++ b/input/regression/paper-margins-line-width.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "If only line-width is given, systems are horizontally centered." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { line-width = 100 \mm diff --git a/input/regression/paper-margins-no-checks.ly b/input/regression/paper-margins-no-checks.ly index 9409ce6897..ff7d3bfd6e 100644 --- a/input/regression/paper-margins-no-checks.ly +++ b/input/regression/paper-margins-no-checks.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "All checks can be avoided by setting check-consistency to ##f in \paper." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { left-margin = 20 \mm diff --git a/input/regression/paper-margins-overrun.ly b/input/regression/paper-margins-overrun.ly index 95f33f341f..6c929233e6 100644 --- a/input/regression/paper-margins-overrun.ly +++ b/input/regression/paper-margins-overrun.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "systems run off the page due to improper paper settings, setting default values")) @@ -9,7 +9,7 @@ #(set-default-paper-size "a4") -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { left-margin = 20 \mm diff --git a/input/regression/paper-margins-right-margin.ly b/input/regression/paper-margins-right-margin.ly index c4a5361ca0..2e71aa7681 100644 --- a/input/regression/paper-margins-right-margin.ly +++ b/input/regression/paper-margins-right-margin.ly @@ -1,10 +1,10 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Here only right-margin is given, left-margin will remain default." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { #(set-paper-size (ly:get-option 'paper-size)) diff --git a/input/regression/paper-margins.ly b/input/regression/paper-margins.ly index 192d2cdc73..c0adb02f9a 100644 --- a/input/regression/paper-margins.ly +++ b/input/regression/paper-margins.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Paper margin settings do not have to be complete. @@ -6,7 +6,7 @@ Missing values are added automatically. If no paper settings are specified, default values are used." } -someNotes = \relative c' { \repeat unfold 40 { c4 d e f } } +someNotes = \relative { \repeat unfold 40 { c'4 d e f } } \paper { #(set-paper-size (ly:get-option 'paper-size)) diff --git a/input/regression/paper-nested-override2.ly b/input/regression/paper-nested-override2.ly index 3c1a6c8838..a444718e39 100644 --- a/input/regression/paper-nested-override2.ly +++ b/input/regression/paper-nested-override2.ly @@ -1,4 +1,4 @@ -\version "2.19.12" +\version "2.19.21" \header { texidoc = "Setting individual nested paper properties does not @@ -11,7 +11,7 @@ remove existing settings or break spacing annotation." system-system-spacing = #'((basic-distance . 12) (minimum-distance . 8)) system-system-spacing.padding = #1 } - \relative c' { + \relative { \repeat unfold 10 { a4 d e f } } } diff --git a/input/regression/paper-twosided-bcorr.ly b/input/regression/paper-twosided-bcorr.ly index ff61296161..178f4aa66e 100644 --- a/input/regression/paper-twosided-bcorr.ly +++ b/input/regression/paper-twosided-bcorr.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "In two-sided mode, a binding offset can be specified, which is added to the inner margin automatically." } -someNotes = \relative c' { \repeat unfold 200 { c4 d e f } } +someNotes = \relative { \repeat unfold 200 { c'4 d e f } } \paper { two-sided = ##t diff --git a/input/regression/paper-twosided.ly b/input/regression/paper-twosided.ly index fbc11a17aa..0a32dd3531 100644 --- a/input/regression/paper-twosided.ly +++ b/input/regression/paper-twosided.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Two-sided mode allows you to use different margins for odd and even pages." } -someNotes = \relative c' { \repeat unfold 200 { c4 d e f } } +someNotes = \relative { \repeat unfold 200 { c'4 d e f } } \paper { two-sided = ##t diff --git a/input/regression/part-combine-text-wait.ly b/input/regression/part-combine-text-wait.ly index 7e1ec339c7..5e44e32597 100644 --- a/input/regression/part-combine-text-wait.ly +++ b/input/regression/part-combine-text-wait.ly @@ -10,9 +10,9 @@ rests and then a solo." \layout { ragged-right = ##t } -mI = \relative c'' { +mI = \relative { \set Score.partCombineTextsOnNote = ##t - g4 \partcombineSoloI r4 c2 | + g'4 \partcombineSoloI r4 c2 | \partcombineSoloII R1*2 | } mII = \relative { diff --git a/input/regression/part-combine-tuplet-end.ly b/input/regression/part-combine-tuplet-end.ly index ee748443da..6d31af0baa 100644 --- a/input/regression/part-combine-tuplet-end.ly +++ b/input/regression/part-combine-tuplet-end.ly @@ -9,9 +9,9 @@ even after a switch, a tuplet ends correctly." \new Staff << \partcombine - \relative c'' { + \relative { r2 - \tuplet 3/2 { g8[ g g] } + \tuplet 3/2 { g'8[ g g] } \tuplet 3/2 { g[ g g] } g1 } \relative { R1 g'1 } diff --git a/input/regression/part-combine-tuplet-single.ly b/input/regression/part-combine-tuplet-single.ly index 1cdd5009e7..4aadb72e94 100644 --- a/input/regression/part-combine-tuplet-single.ly +++ b/input/regression/part-combine-tuplet-single.ly @@ -5,17 +5,17 @@ \paper { ragged-right = ##T } -\version "2.17.11" +\version "2.19.21" \score { << \new Staff { \partcombine - \relative c'' { - \tuplet 3/2 { d4 d d ~ } d2 + \relative { + \tuplet 3/2 { d''4 d d ~ } d2 } - \relative c'' { - \tuplet 3/2 { b4 a g ~ } g2 + \relative { + \tuplet 3/2 { b'4 a g ~ } g2 } } >> diff --git a/input/regression/partial-polymetric.ly b/input/regression/partial-polymetric.ly index cccf47e98c..98f658be50 100644 --- a/input/regression/partial-polymetric.ly +++ b/input/regression/partial-polymetric.ly @@ -1,14 +1,14 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "@code{\\partial} works with polymetric staves." } \score { - \relative c' << + \relative << \new Staff { \partial 4 - c4 | + c'4 | c4 c c c | } \new Staff { diff --git a/input/regression/pedal-bracket.ly b/input/regression/pedal-bracket.ly index f7f6319c43..e4cffe9494 100644 --- a/input/regression/pedal-bracket.ly +++ b/input/regression/pedal-bracket.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -10,10 +10,10 @@ At a line-break, there are no vertical endings. Pedal changes can be placed at spacer rests." } \score { - \relative c'' { + \relative { \set Staff.pedalSustainStyle = #'bracket - c4 d <e f b,> \sustainOn b c c, \sustainOff \sustainOn d8[ c] e8[ + c''4 d <e f b,> \sustainOn b c c, \sustainOff \sustainOn d8[ c] e8[ e \sustainOff \sustainOn] f4 r \sustainOff g \sustainOn bes bes, \sustainOff c' diff --git a/input/regression/phrasing-slur-tuplet.ly b/input/regression/phrasing-slur-tuplet.ly index 0f5aa8302a..10aa1e9a7e 100644 --- a/input/regression/phrasing-slur-tuplet.ly +++ b/input/regression/phrasing-slur-tuplet.ly @@ -1,13 +1,13 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Phrasing slurs do not collide with tuplet numbers." } -\relative c'' { +\relative { \voiceOne \tuplet 3/2 { - c8\( b c + c''8\( b c } a2.\) } diff --git a/input/regression/property-nested-override.ly b/input/regression/property-nested-override.ly index 0d8be92357..491e4a12d9 100644 --- a/input/regression/property-nested-override.ly +++ b/input/regression/property-nested-override.ly @@ -1,4 +1,4 @@ -\version "2.19.2" +\version "2.19.21" \header { texidoc = "Nested properties may be overridden using Scheme list syntax. This test performs two property overrides: the first @@ -7,9 +7,9 @@ list. " } -\relative c' { +\relative { \once \override TextSpanner.bound-details.left.text = #"foo" - c4\startTextSpan + c'4\startTextSpan \once \override Tie.details.note-head-gap = #1 c4 ~ 4 c\stopTextSpan diff --git a/input/regression/quote-tuplet.ly b/input/regression/quote-tuplet.ly index 420f8641ba..cfbba5516c 100644 --- a/input/regression/quote-tuplet.ly +++ b/input/regression/quote-tuplet.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { @@ -8,8 +8,8 @@ } -foo = \relative c' { - \tuplet 3/2 { c4 c c } \tuplet 3/2 { c4 c c } +foo = \relative { + \tuplet 3/2 { c'4 c c } \tuplet 3/2 { c4 c c } } \addQuote "foo" { \foo } diff --git a/input/regression/rehearsal-mark-align-priority.ly b/input/regression/rehearsal-mark-align-priority.ly index d5cdfa8503..14835c95c3 100644 --- a/input/regression/rehearsal-mark-align-priority.ly +++ b/input/regression/rehearsal-mark-align-priority.ly @@ -4,11 +4,11 @@ the alignment depends on which symbols are visible." } -\version "2.17.6" +\version "2.19.21" -\relative c' { +\relative { \override Score.RehearsalMark.break-align-symbols = #'(clef key-signature staff-bar) - c1 + c'1 \clef "bass" \mark "clef" \noBreak diff --git a/input/regression/relative.ly b/input/regression/relative.ly index e5f0faea9b..e0ddf83a71 100644 --- a/input/regression/relative.ly +++ b/input/regression/relative.ly @@ -2,11 +2,11 @@ texidoc = "Notes are entered using absolute octaves, octaves relative to the previous note, or relative to a fixed octave." } -\version "2.19.20" +\version "2.19.21" \new Staff { - \relative c'' { c4 g \absolute { c'' } e' \fixed c'' { g1 }} - \fixed c'' { c4 \fixed c' { g } c e \relative c''' { g1 } } - \clef bass \relative c { c4 g c e g1 } + \relative { c''4 g \absolute { c'' } e' \fixed c'' { g1 }} + \fixed c'' { c4 \fixed c' { g } c e \relative { g''1 } } + \clef bass \relative { c4 g c e g1 } \fixed c { c4 g, c e g1 } } diff --git a/input/regression/repeat-percent-count-visibility.ly b/input/regression/repeat-percent-count-visibility.ly index e4d986d6a3..9a1e69b4ec 100644 --- a/input/regression/repeat-percent-count-visibility.ly +++ b/input/regression/repeat-percent-count-visibility.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = " Percent repeat counters can be shown at regular @@ -6,10 +6,10 @@ intervals by setting @code{repeatCountVisibility}. " } -\relative c'' { +\relative { \set countPercentRepeats = ##t \set repeatCountVisibility = #(every-nth-repeat-count-visible 5) - \repeat percent 10 { c1 } \break + \repeat percent 10 { c''1 } \break \set repeatCountVisibility = #(every-nth-repeat-count-visible 2) \repeat percent 6 { c1 d1 } } diff --git a/input/regression/repeat-percent-grace.ly b/input/regression/repeat-percent-grace.ly index baa5fc134f..d1eb1e320b 100644 --- a/input/regression/repeat-percent-grace.ly +++ b/input/regression/repeat-percent-grace.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc = "Percent repeats are also centered when there is a grace note in a parallel staff. " @@ -8,7 +8,7 @@ ragged-right =##t } -\relative c' << - \new Staff { \repeat percent 3 c1} +\relative << + \new Staff { \repeat percent 3 c'1} \new Staff { c1 c \grace b8 c1 } >> diff --git a/input/regression/repeat-slash-mixed.ly b/input/regression/repeat-slash-mixed.ly index 3c0decb5e3..a29e2aafe6 100644 --- a/input/regression/repeat-slash-mixed.ly +++ b/input/regression/repeat-slash-mixed.ly @@ -1,13 +1,13 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Beat repeats for patterns containing mixed durations use a double percent symbol." } -\relative c' { +\relative { \repeat percent 4 { - c8. <d f>16 + c'8. <d f>16 } \repeat percent 2 { \tuplet 3/2 { diff --git a/input/regression/repeat-slash-multi.ly b/input/regression/repeat-slash-multi.ly index eb77b49ac6..c8e5b71751 100644 --- a/input/regression/repeat-slash-multi.ly +++ b/input/regression/repeat-slash-multi.ly @@ -1,11 +1,11 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Beat repeats for patterns containing identical durations shorter than an eighth note use multiple slashes." } -\relative c' { - \repeat percent 2 { c16 d e f } +\relative { + \repeat percent 2 { c'16 d e f } \repeat percent 4 { c32 e g e } } diff --git a/input/regression/repeat-tremolo-one-note-articulation.ly b/input/regression/repeat-tremolo-one-note-articulation.ly index cdd03934c7..29d2e0e1be 100644 --- a/input/regression/repeat-tremolo-one-note-articulation.ly +++ b/input/regression/repeat-tremolo-one-note-articulation.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "A tremolo repeat containing only one note (no sequential music) @@ -8,8 +8,8 @@ \paper { ragged-right = ##t } \score { - \new Staff \relative c'' { - \repeat tremolo 4 { a16 } + \new Staff \relative { + \repeat tremolo 4 { a'16 } \repeat tremolo 4 { a16\f } \repeat tremolo 4 a16 \repeat tremolo 4 a16\f | diff --git a/input/regression/repeat-tremolo-three-notes.ly b/input/regression/repeat-tremolo-three-notes.ly index 44285f6c9e..7bd23c9e5f 100644 --- a/input/regression/repeat-tremolo-three-notes.ly +++ b/input/regression/repeat-tremolo-three-notes.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "A tremolo can have more than two notes. Also check that @@ -7,7 +7,7 @@ linebreaks between tremolos still work and that empty tremolos don't crash." \paper { ragged-right = ##t } \score { - \new Staff \relative c' { + \new Staff \relative { \time 3/4 \repeat tremolo 16 { a64 c e } | \repeat tremolo 8 { a,64 c e } diff --git a/input/regression/repeat-unfold.ly b/input/regression/repeat-unfold.ly index 5002991829..621608a0b4 100644 --- a/input/regression/repeat-unfold.ly +++ b/input/regression/repeat-unfold.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "More alternatives than repeats. Junking excess alternatives")) @@ -14,8 +14,8 @@ get to the number of repeats. Unfolded behavior:" } -\context Voice \relative c'' { - \repeat unfold 3 { c^"3x 0a" d } +\context Voice \relative { + \repeat unfold 3 { c''^"3x 0a" d } %% less alts than body \repeat unfold 4 { c^"4x 0a" d } \alternative { e f } %% more alts than body diff --git a/input/regression/repeat-volta-skip-alternatives.ly b/input/regression/repeat-volta-skip-alternatives.ly index 6f4e422002..db52a0fd1e 100644 --- a/input/regression/repeat-volta-skip-alternatives.ly +++ b/input/regression/repeat-volta-skip-alternatives.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "When too few alternatives are present, the first @@ -9,8 +9,8 @@ alternative is repeated, by printing a range for the 1st repeat." \paper { ragged-right = ##t } -\relative c'' \context Voice { - \repeat volta 3 c1 +\relative \context Voice { + \repeat volta 3 c''1 \alternative { d f } e4 } diff --git a/input/regression/repeat-volta.ly b/input/regression/repeat-volta.ly index 9d6011d64b..8ec1944706 100644 --- a/input/regression/repeat-volta.ly +++ b/input/regression/repeat-volta.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "More alternatives than repeats. Junking excess alternatives")) @@ -11,9 +11,9 @@ If they don't barlines should still be shown. %% no alts. -\context Voice \relative c'' { +\context Voice \relative { %% repeat non aligning with barlines. - \repeat volta 3 { c^"3x 0alt" d e } + \repeat volta 3 { c''^"3x 0alt" d e } %% less alts than body \repeat volta 4 { c^"4x 2alt" d } \alternative { e f } %% more alts than body diff --git a/input/regression/rest-collision-beam-restdir.ly b/input/regression/rest-collision-beam-restdir.ly index 24cc53d8c8..693915f67c 100644 --- a/input/regression/rest-collision-beam-restdir.ly +++ b/input/regression/rest-collision-beam-restdir.ly @@ -3,15 +3,15 @@ account properly." } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c''' { +\relative { \override Rest.direction = #UP - \stemDown b8[ r b] + \stemDown b''8[ r b] \override Rest.direction = #DOWN \stemDown b8[ r b] } diff --git a/input/regression/rest-collision-beam.ly b/input/regression/rest-collision-beam.ly index 2dd30d5563..b14eb6df57 100644 --- a/input/regression/rest-collision-beam.ly +++ b/input/regression/rest-collision-beam.ly @@ -4,13 +4,13 @@ collision." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c''' { - \stemDown b8[ r b] +\relative { + \stemDown b''8[ r b] \stemUp b,,8[ r b] } diff --git a/input/regression/script-horizontal-slur.ly b/input/regression/script-horizontal-slur.ly index 6cf552ac5f..54cb8e7899 100644 --- a/input/regression/script-horizontal-slur.ly +++ b/input/regression/script-horizontal-slur.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Horizontal scripts don't have @code{avoid-slur} set." @@ -8,9 +8,9 @@ ragged-right = ##t } -\relative c'' { +\relative { \set fingeringOrientations = #'(right) - < a-1 d-2>2 + < a'-1 d-2>2 < a-1 d-2>2 < a-1 d-2>2( < a-1 d-2>2) diff --git a/input/regression/script-shift.ly b/input/regression/script-shift.ly index 1877fcd0a5..3fef1d8e54 100644 --- a/input/regression/script-shift.ly +++ b/input/regression/script-shift.ly @@ -7,11 +7,11 @@ means centered on the stem). " } -\version "2.19.16" -\relative c'' +\version "2.19.21" +\relative { \override Script.toward-stem-shift = #1.0 - a4^> c_> + a'4^> c_> \override Script.toward-stem-shift = #0.0 a4^> c_> diff --git a/input/regression/script-stack-horizontal.ly b/input/regression/script-stack-horizontal.ly index d307d9cf7b..766b24c18e 100644 --- a/input/regression/script-stack-horizontal.ly +++ b/input/regression/script-stack-horizontal.ly @@ -8,17 +8,17 @@ The scripts should not be folded under the time signature. " } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c' +\relative { \set stringNumberOrientations = #'(left) \set fingeringOrientations = #'(left) \set strokeFingerOrientations = #'(left) - <cis-1\4 + <cis'-1\4 -\rightHandFinger #1 f>\arpeggio } diff --git a/input/regression/set-once.ly b/input/regression/set-once.ly index ad65384e70..b9fc811928 100644 --- a/input/regression/set-once.ly +++ b/input/regression/set-once.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { @@ -6,9 +6,9 @@ and then return to the previous value." } -\relative c' { +\relative { \set fingeringOrientations = #'(left) - <e-1>1 | + <e'-1>1 | \once \set fingeringOrientations = #'(right) <e-1> | <e-1> -"left" | diff --git a/input/regression/skiptypesetting-tuplet.ly b/input/regression/skiptypesetting-tuplet.ly index b2f6262915..09dd0db4fc 100644 --- a/input/regression/skiptypesetting-tuplet.ly +++ b/input/regression/skiptypesetting-tuplet.ly @@ -7,14 +7,14 @@ } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##T } -\new Staff \relative c' { +\new Staff \relative { \set Score.skipTypesetting = ##t - \tuplet 3/2 { c8 c c } \tuplet 3/2 { c c c } + \tuplet 3/2 { c'8 c c } \tuplet 3/2 { c c c } \tuplet 3/2 { c c c } \tuplet 3/2 { c c c} \set Score.skipTypesetting = ##f d1 \break diff --git a/input/regression/skyline-vertical-placement.ly b/input/regression/skyline-vertical-placement.ly index 49c0376092..77eb9e75b5 100644 --- a/input/regression/skyline-vertical-placement.ly +++ b/input/regression/skyline-vertical-placement.ly @@ -5,12 +5,12 @@ using a skyline algorithm so that they don't collide with other objects." \layout {ragged-right = ##t} -\version "2.17.6" -\relative c''' { +\version "2.19.21" +\relative { \override Score.PaperColumn.keep-inside-line = ##f \override TextScript.outside-staff-priority = #2 \override DynamicLineSpanner.outside-staff-priority = #1 - c + c''' \once \override TextScript.self-alignment-X = #CENTER a,^"this doesn't collide with the c" b^"this goes above the previous markup" diff --git a/input/regression/slur-double.ly b/input/regression/slur-double.ly index f76ece0919..79cc524f3e 100644 --- a/input/regression/slur-double.ly +++ b/input/regression/slur-double.ly @@ -3,10 +3,10 @@ texidoc = "Some composers use slurs both above and below chords. This can be typeset by setting @code{doubleSlurs}" } -\version "2.16.0" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' { +\relative { \set doubleSlurs = ##t - <c e>4 ( <d f> <c e> <d f> ) + <c' e>4 ( <d f> <c e> <d f> ) } diff --git a/input/regression/slur-extreme.ly b/input/regression/slur-extreme.ly index a1380cf539..ddf31c4e0c 100644 --- a/input/regression/slur-extreme.ly +++ b/input/regression/slur-extreme.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -12,7 +12,7 @@ Asymmetric slurs are created by setting @code{eccentricity}." ragged-right = ##t } -baseWalk = \relative c { +baseWalk = \relative { \time 6/4 \stemDown \slurUp diff --git a/input/regression/slur-flag.ly b/input/regression/slur-flag.ly index 200595c373..6f208e3a7e 100644 --- a/input/regression/slur-flag.ly +++ b/input/regression/slur-flag.ly @@ -1,12 +1,12 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Slurs take flag extents into account. " } -\relative c'' { +\relative { \stemUp \slurUp - b8( c) + b'8( c) } diff --git a/input/regression/slur-manual.ly b/input/regression/slur-manual.ly index 4a9cf8d94f..a3b17d7eca 100644 --- a/input/regression/slur-manual.ly +++ b/input/regression/slur-manual.ly @@ -6,11 +6,11 @@ positioning of the slur. It selects the slur configuration closest to the given pair. " } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##T } -\relative c' { +\relative { \override Slur.positions = #'(-4 . -5) - e( f g) + e'( f g) } diff --git a/input/regression/slur-tuplet.ly b/input/regression/slur-tuplet.ly index 202ea32713..2003e95247 100644 --- a/input/regression/slur-tuplet.ly +++ b/input/regression/slur-tuplet.ly @@ -5,20 +5,20 @@ This may not work if the slur starts after the tuplet. " } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t % #(define debug-slur-scoring #t) } -\relative c' { +\relative { \slurUp \override TupletBracket.bracket-visibility = ##f \override Slur.details.region-size = #6 \tuplet 3/2 { - c( g' c,) + c'( g' c,) } } diff --git a/input/regression/slur-vestigial-outside-staff-callback.ly b/input/regression/slur-vestigial-outside-staff-callback.ly index a858017427..4bbc38bf64 100644 --- a/input/regression/slur-vestigial-outside-staff-callback.ly +++ b/input/regression/slur-vestigial-outside-staff-callback.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Outside staff callbacks that no longer apply to grobs @@ -10,10 +10,10 @@ the first and second examples. " } -\relative c'' { +\relative { \set strokeFingerOrientations = #'(up) \override StrokeFinger.avoid-slur = #'outside \autoBeamOff - <a-\rightHandFinger #2 >16 b + <a'-\rightHandFinger #2 >16 b <a-\rightHandFinger #2 >16( b) } diff --git a/input/regression/song-reordering.ly b/input/regression/song-reordering.ly index 1c9083597b..0ab48bd91a 100644 --- a/input/regression/song-reordering.ly +++ b/input/regression/song-reordering.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports reordered lyrics. @@ -8,9 +8,9 @@ reordered lyrics. \festival #"song-reordering.xml" { \tempo 4 = 100 } << - \relative c' \context Voice = "lahlah" { + \relative \context Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << \context Voice = alternative { \voiceOne diff --git a/input/regression/song-reordering2.ly b/input/regression/song-reordering2.ly index 57595c22ad..800df58cfa 100644 --- a/input/regression/song-reordering2.ly +++ b/input/regression/song-reordering2.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports reordered lyrics. @@ -8,9 +8,9 @@ reordered lyrics. \festival #"song-reordering2.xml" { \tempo 4 = 100 } << - \relative c' \context Voice = "lahlah" { + \relative \context Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 << { \voiceTwo diff --git a/input/regression/song-slurs.ly b/input/regression/song-slurs.ly index 25aba696f5..a2237cfa88 100644 --- a/input/regression/song-slurs.ly +++ b/input/regression/song-slurs.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { texidoc="Festival song synthesis output supports slurs. @@ -8,9 +8,9 @@ slurs. \festival #"song-slurs.xml" { \tempo 4 = 100 } << - \relative c' \context Voice = "lahlah" { + \relative \context Voice = "lahlah" { \set Staff.autoBeaming = ##f - c4 + c'4 \slurDotted f8.[( g16]) a4 diff --git a/input/regression/spacing-accidental-stretch.ly b/input/regression/spacing-accidental-stretch.ly index 02312f6042..d3adf5da16 100644 --- a/input/regression/spacing-accidental-stretch.ly +++ b/input/regression/spacing-accidental-stretch.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Accidentals do not influence the amount of stretchable space. @@ -11,9 +11,9 @@ The accidental does add a little non-stretchable space. \layout { line-width = 18.\cm } -\relative c'' { +\relative { \accidentalStyle piano-cautionary \time 2/4 - d16 d d d d d cis d dis dis dis dis + d''16 d d d d d cis d dis dis dis dis } diff --git a/input/regression/spacing-bar-accidental.ly b/input/regression/spacing-bar-accidental.ly index 98c26482e7..a1fac72478 100644 --- a/input/regression/spacing-bar-accidental.ly +++ b/input/regression/spacing-bar-accidental.ly @@ -5,19 +5,19 @@ } -\version "2.17.6" +\version "2.19.21" \layout{ ragged-right = ##t } -\relative c'' { +\relative { \override Score.NonMusicalPaperColumn.stencil = #ly:paper-column::print \override Score.NonMusicalPaperColumn.layer = #2 \time 2/4 \stemUp s2 - c4 r4 + c''4 r4 cis4 r4 } diff --git a/input/regression/spacing-bar-stem.ly b/input/regression/spacing-bar-stem.ly index 2567773e83..3f2915992a 100644 --- a/input/regression/spacing-bar-stem.ly +++ b/input/regression/spacing-bar-stem.ly @@ -9,19 +9,19 @@ to 1.5 staff space." } -\version "2.17.6" +\version "2.19.21" \layout{ ragged-right = ##t } -\relative c'' { +\relative { \override Score.NonMusicalPaperColumn.stencil = #ly:paper-column::print \override Score.NonMusicalPaperColumn.layer = #2 \time 2/4 \stemDown s2 - e4 s4 + e''4 s4 e,4 s4 } diff --git a/input/regression/spacing-bar-whole-measure.ly b/input/regression/spacing-bar-whole-measure.ly index a8503b1a32..c790cd8670 100644 --- a/input/regression/spacing-bar-whole-measure.ly +++ b/input/regression/spacing-bar-whole-measure.ly @@ -3,19 +3,19 @@ } -\version "2.17.6" +\version "2.19.21" \layout{ ragged-right=##t } -\new Staff \relative c' { +\new Staff \relative { \override Score.NonMusicalPaperColumn.stencil = #ly:paper-column::print \override Score.NonMusicalPaperColumn.layer = #1 \time 4/4 s1 - c2. c4 + c'2. c4 \time 3/4 s2. c2. diff --git a/input/regression/spacing-folded-clef-cross-staff.ly b/input/regression/spacing-folded-clef-cross-staff.ly index 7ed718561b..32eef70cfc 100644 --- a/input/regression/spacing-folded-clef-cross-staff.ly +++ b/input/regression/spacing-folded-clef-cross-staff.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Clefs are also folded under cross staff constructs." } @@ -7,10 +7,10 @@ \context PianoStaff << \new Staff = "up" - \relative c'' << + \relative << { \stemDown - f16[ \change Staff = down \stemUp + f''16[ \change Staff = down \stemUp \clef treble g,] } \\ diff --git a/input/regression/spacing-horizontal-skyline.ly b/input/regression/spacing-horizontal-skyline.ly index 27c0fa8685..d413976200 100644 --- a/input/regression/spacing-horizontal-skyline.ly +++ b/input/regression/spacing-horizontal-skyline.ly @@ -3,14 +3,14 @@ texidoc = "accidentals may be folded under preceding notes." } -\version "2.16.0" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c''' { - \stemUp c4...*1/2 +\relative { + \stemUp c'''4...*1/2 ceses,,! eses! diff --git a/input/regression/spacing-loose-polyphony.ly b/input/regression/spacing-loose-polyphony.ly index ce56c5f8be..c13677b32d 100644 --- a/input/regression/spacing-loose-polyphony.ly +++ b/input/regression/spacing-loose-polyphony.ly @@ -7,7 +7,7 @@ correctly in polyphonic music. } \new PianoStaff << - \new Staff \relative c' { + \new Staff \relative { \tuplet 3/2 { g'4 a2 } } \new Staff \relative { diff --git a/input/regression/spacing-mark-width.ly b/input/regression/spacing-mark-width.ly index 8010f4edfb..1539b901ce 100644 --- a/input/regression/spacing-mark-width.ly +++ b/input/regression/spacing-mark-width.ly @@ -4,15 +4,15 @@ } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' +\relative { \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible - c1 + c''1 \mark "xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx " } diff --git a/input/regression/spacing-multi-tuplet.ly b/input/regression/spacing-multi-tuplet.ly index 4c84dad0d8..0f11ac8677 100644 --- a/input/regression/spacing-multi-tuplet.ly +++ b/input/regression/spacing-multi-tuplet.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header{ @@ -7,10 +7,10 @@ \paper {ragged-right = ##f } -\relative c' { +\relative { \context StaffGroup << \new Staff \context Voice { - \tuplet 10/8 { c8[ c c c c c c c c c] } + \tuplet 10/8 { c'8[ c c c c c c c c c] } } \new Staff \context Voice { \tuplet 8/8 { c8[ c c c c c c c] } diff --git a/input/regression/spacing-note-flags.ly b/input/regression/spacing-note-flags.ly index 9771c636a8..81c03b14f8 100644 --- a/input/regression/spacing-note-flags.ly +++ b/input/regression/spacing-note-flags.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -12,9 +12,9 @@ ragged-right = ##t } -\relative c'' \context Staff { +\relative \context Staff { \set autoBeaming = ##f - a8[ a8 a8 a8] + a'8[ a8 a8 a8] a8 a8 a8 a8 } diff --git a/input/regression/spacing-packed.ly b/input/regression/spacing-packed.ly index d3a01b6f92..e5d415761f 100644 --- a/input/regression/spacing-packed.ly +++ b/input/regression/spacing-packed.ly @@ -10,9 +10,9 @@ " } -\version "2.17.6" +\version "2.19.21" -\relative c' { +\relative { \override Score.SpacingSpanner.packed-spacing = ##t - c2 d4 f8[ g] a + c'2 d4 f8[ g] a } diff --git a/input/regression/spacing-proportional.ly b/input/regression/spacing-proportional.ly index 73c13dcdf2..4cd8c33946 100644 --- a/input/regression/spacing-proportional.ly +++ b/input/regression/spacing-proportional.ly @@ -6,14 +6,14 @@ to the distance for the given duration." } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' +\relative << \set Score.proportionalNotationDuration = #(ly:make-moment 1/16) - \new Staff { c8[ c c c c c] c4 c2 r2 } + \new Staff { c''8[ c c c c c] c4 c2 r2 } \new Staff { c2 \tuplet 3/2 { c8 c c } c4 c1 } >> diff --git a/input/regression/spacing-ragged-last.ly b/input/regression/spacing-ragged-last.ly index d785143960..2b2ff08d89 100644 --- a/input/regression/spacing-ragged-last.ly +++ b/input/regression/spacing-ragged-last.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -12,5 +12,5 @@ ragged-last = ##t } -\relative c'' \new Staff { \repeat unfold 20 { c1 } } +\relative \new Staff { \repeat unfold 20 { c''1 } } diff --git a/input/regression/spacing-stem-bar.ly b/input/regression/spacing-stem-bar.ly index 7665030801..8c26d9d559 100644 --- a/input/regression/spacing-stem-bar.ly +++ b/input/regression/spacing-stem-bar.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Upstem notes before a barline are printed with some extra @@ -11,7 +11,7 @@ space. This is an optical correction similar to juxtaposed stems. \layout { ragged-right = ##t} -\relative e' +\relative { \override Score.PaperColumn.layer = #1 \override Score.PaperColumn.stencil = #ly:paper-column::print @@ -19,7 +19,7 @@ space. This is an optical correction similar to juxtaposed stems. \time 2/8 \stemUp - e8[ e] + e'8[ e] e'[ e] } diff --git a/input/regression/spacing-stem-direction.ly b/input/regression/spacing-stem-direction.ly index fbca840c55..805a944507 100644 --- a/input/regression/spacing-stem-direction.ly +++ b/input/regression/spacing-stem-direction.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header{ @@ -16,7 +16,7 @@ much to correct." } -\context Voice \relative c { +\context Voice \relative { \override Score.PaperColumn.layer = #1 \override Score.PaperColumn.stencil = #ly:paper-column::print diff --git a/input/regression/spacing-stem-same-direction.ly b/input/regression/spacing-stem-same-direction.ly index 03a20bc679..d905042ca1 100644 --- a/input/regression/spacing-stem-same-direction.ly +++ b/input/regression/spacing-stem-same-direction.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "For juxtaposed chords with the same direction, a slight optical correction is used. It is constant, and works only if @@ -8,13 +8,13 @@ two chords have no common head-positions range." \layout { ragged-right = ##t} -\relative c'' { +\relative { \override Score.PaperColumn.layer = #1 \override Score.PaperColumn.stencil = #ly:paper-column::print \stemDown \time 12/4 - f8[ + f''8[ e f e] f[ d f d] f[ c f c] f[ b, f' b,] f'[ a, f' a,] } diff --git a/input/regression/spacing-strict-notespacing.ly b/input/regression/spacing-strict-notespacing.ly index 6e17724c1f..26042175f7 100644 --- a/input/regression/spacing-strict-notespacing.ly +++ b/input/regression/spacing-strict-notespacing.ly @@ -9,7 +9,7 @@ time. This may cause collisions. " } -\version "2.17.28" +\version "2.19.21" \paper { ragged-right = ##t @@ -21,12 +21,12 @@ time. This may cause collisions. " } } -\relative c'' +\relative << \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/16) \new Staff { - c8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 + c''8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 \grace { c16 c16 } c2 } \new Staff { diff --git a/input/regression/spacing-uniform-stretching.ly b/input/regression/spacing-uniform-stretching.ly index 16cd079404..3cb7b884b8 100644 --- a/input/regression/spacing-uniform-stretching.ly +++ b/input/regression/spacing-uniform-stretching.ly @@ -6,13 +6,13 @@ } -\version "2.17.11" +\version "2.19.21" -\relative c'' +\relative << \override Score.SpacingSpanner.uniform-stretching = ##t \new Staff { - c16[ c c c c c c c c c16] + c''16[ c c c c c c c c c16] } \new Staff { \tuplet 7/6 { c16 c c cis c c c } diff --git a/input/regression/spanner-after-line-breaking.ly b/input/regression/spanner-after-line-breaking.ly index 100d81346a..9c9c4f9d20 100644 --- a/input/regression/spanner-after-line-breaking.ly +++ b/input/regression/spanner-after-line-breaking.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "The visibility of left-broken line spanners and hairpins @@ -9,7 +9,7 @@ controlled by the callback @code{ly:spanner::kill-zero-spanned-time}. \paper { ragged-right = ##t } -\relative c' { +\relative { \override TextSpanner.bound-details = #'((left (Y . 0) @@ -25,7 +25,7 @@ controlled by the callback @code{ly:spanner::kill-zero-spanned-time}. (text . #f)) (right-broken (text . #f))) - c1\startTextSpan\< \break + c'1\startTextSpan\< \break \override Hairpin.to-barline = ##f \override Hairpin.after-line-breaking = ##f c2\stopTextSpan\! diff --git a/input/regression/spanner-break-overshoot.ly b/input/regression/spanner-break-overshoot.ly index 02ffba9a5c..08f337b9ce 100644 --- a/input/regression/spanner-break-overshoot.ly +++ b/input/regression/spanner-break-overshoot.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "The @code{break-overshoot} property sets the amount that @@ -9,10 +9,10 @@ prefatory matter." \paper { ragged-right = ##t } -\relative c'' { +\relative { \override Beam.break-overshoot = #'(1.0 . 2.0) \override TupletBracket.break-overshoot = #'(1.0 . 2.0) \override TupletBracket.bracket-visibility = ##t \override Beam.breakable = ##t - c2.. \tuplet 3/2 { c8.[ \break c8.] } + c''2.. \tuplet 3/2 { c8.[ \break c8.] } } diff --git a/input/regression/staccato-pos.ly b/input/regression/staccato-pos.ly index 72ee58c48b..7c722250a7 100644 --- a/input/regression/staccato-pos.ly +++ b/input/regression/staccato-pos.ly @@ -15,9 +15,9 @@ } { - \new Voice \relative c'' { + \new Voice \relative { \voiceOne - g8-. a-. b-. c-. + g'8-. a-. b-. c-. a-. b-. c-. d-. b8[-. a-. g b] e,-. f-. g-. a-. @@ -29,9 +29,9 @@ \stemDown e,-. d-. c-. b-. a-. g-. } - \relative c'' { + \relative { \stemUp - d-> c-> b-> a-> g-> f-> e-> d-> + d''-> c-> b-> a-> g-> f-> e-> d-> d' d-. c-. b-. a-. g-. f-. e-. d-. } diff --git a/input/regression/staff-ledger-positions-dotted-notes.ly b/input/regression/staff-ledger-positions-dotted-notes.ly index 3237af9a7e..dfe5def834 100644 --- a/input/regression/staff-ledger-positions-dotted-notes.ly +++ b/input/regression/staff-ledger-positions-dotted-notes.ly @@ -6,11 +6,11 @@ StaffSymbol, and a dotted note falls on a ledger line, the dot is shifted up to avoid the ledger line (just as with uncustomized ledger lines)." } -\version "2.19.17" +\version "2.19.21" -\new Staff \relative c' { +\new Staff \relative { \override Staff.StaffSymbol.line-positions = #'(-3 0 3) \override Staff.StaffSymbol.ledger-positions = #'(-3 0) \override Staff.StaffSymbol.ledger-extra = #1 - f,4. g a b c d g' a b c d e + f4. g a b c d g' a b c d e } diff --git a/input/regression/staff-ledger-positions.ly b/input/regression/staff-ledger-positions.ly index 3e8c191937..986f18cc61 100644 --- a/input/regression/staff-ledger-positions.ly +++ b/input/regression/staff-ledger-positions.ly @@ -7,9 +7,9 @@ either all or none are shown. Ledger lines can be set to appear sooner or later by setting the @code{ledger-extra} property." } -\version "2.17.6" +\version "2.19.21" -\new Staff \relative c' { +\new Staff \relative { \override Staff.StaffSymbol.line-positions = #'(-5 -2 -1 2 5 6) \override Staff.StaffSymbol.ledger-positions = #'(-5 (-2 -1) 2) \override Staff.StaffSymbol.ledger-extra = #1 diff --git a/input/regression/staff-line-positions.ly b/input/regression/staff-line-positions.ly index e8c9d4fa8f..e7c10d3e42 100644 --- a/input/regression/staff-line-positions.ly +++ b/input/regression/staff-line-positions.ly @@ -6,10 +6,10 @@ } -\version "2.17.6" +\version "2.19.21" -\new Staff \relative c' { +\new Staff \relative { \override Staff.StaffSymbol.line-positions = #'(-7 -2 0 3 9) g c f b e a } diff --git a/input/regression/stem-direction-context.ly b/input/regression/stem-direction-context.ly index f4eaf78f1e..3d43c3c8cc 100644 --- a/input/regression/stem-direction-context.ly +++ b/input/regression/stem-direction-context.ly @@ -5,12 +5,12 @@ } -\version "2.17.6" -\relative c'' \new Voice \with { +\version "2.19.21" +\relative \new Voice \with { \consists "Melody_engraver" \override Stem.neutral-direction = #'() } { - c4 b c b + c''4 b c b c c c c b a b a } diff --git a/input/regression/stem-length.ly b/input/regression/stem-length.ly index 39aa092181..d0647d095f 100644 --- a/input/regression/stem-length.ly +++ b/input/regression/stem-length.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "Stem length and stem-begin-position can be set manually. " } -\relative c' { +\relative { \autoBeamOff \stemUp a8 aes''8 diff --git a/input/regression/stem-shorten.ly b/input/regression/stem-shorten.ly index 2063b84cdf..8793420631 100644 --- a/input/regression/stem-shorten.ly +++ b/input/regression/stem-shorten.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { @@ -14,8 +14,8 @@ } -\relative c'' { - \stemDown d c b a g f e +\relative { + \stemDown d'' c b a g f e \stemNeutral \stemUp a b c d e f g a \stemNeutral diff --git a/input/regression/stem-stemlet.ly b/input/regression/stem-stemlet.ly index 4799eb5c8c..428e5a9af7 100644 --- a/input/regression/stem-stemlet.ly +++ b/input/regression/stem-stemlet.ly @@ -5,11 +5,11 @@ length can be set with @code{stemlet-length}." } -\version "2.17.6" +\version "2.19.21" \layout { ragged-right = ##t } -\relative c' { +\relative { \override Stem.stemlet-length = #0.75 - c8[ r8 c16 r16 c8] + c'8[ r8 c16 r16 c8] c4 } diff --git a/input/regression/stem-tremolo-forced-dir.ly b/input/regression/stem-tremolo-forced-dir.ly index 361f21752c..4f2156b9b3 100644 --- a/input/regression/stem-tremolo-forced-dir.ly +++ b/input/regression/stem-tremolo-forced-dir.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc = "Tremolo works even when a stem is forced in a @@ -8,7 +8,7 @@ particular direction. } \layout { ragged-right = ##t } -\relative c +\relative { \clef bass \stemUp f4 : 32 diff --git a/input/regression/stem-tremolo-note-column.ly b/input/regression/stem-tremolo-note-column.ly index f62e6ddbd5..90588633bf 100644 --- a/input/regression/stem-tremolo-note-column.ly +++ b/input/regression/stem-tremolo-note-column.ly @@ -1,12 +1,12 @@ -\version "2.17.6" +\version "2.19.21" \header{ texidoc="Stem tremolos count in a note column's horizontal skyline. " } -\relative c'' { +\relative { \autoBeamOff \override NoteHead.stencil = #(ly:make-stencil '() '(0 . 0) '(0 . 0)) - \repeat unfold 8 { b8:32 } + \repeat unfold 8 { b'8:32 } } diff --git a/input/regression/system-start-heavy-bar.ly b/input/regression/system-start-heavy-bar.ly index d79dcd3b0f..bae87d062e 100644 --- a/input/regression/system-start-heavy-bar.ly +++ b/input/regression/system-start-heavy-bar.ly @@ -1,18 +1,18 @@ \header { texidoc = "A heavy-bar system start delimiter may be created by tuning the @code{SystemStartBar} grob." } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } << \new StaffGroup - \relative c' << + \relative << \set StaffGroup.systemStartDelimiter = #'SystemStartBar \override StaffGroup.SystemStartBar.thickness = #8 \override StaffGroup.SystemStartBar.padding = #0.2 - \new Staff { c1 } + \new Staff { c'1 } \new Staff { c1 } >> \new Staff { c1 } diff --git a/input/regression/system-start-nesting.ly b/input/regression/system-start-nesting.ly index 41a4a72a2a..d169a8cae2 100644 --- a/input/regression/system-start-nesting.ly +++ b/input/regression/system-start-nesting.ly @@ -2,17 +2,17 @@ created with the @code{systemStartDelimiterHierarchy} property." } -\version "2.17.15" +\version "2.19.21" \paper { ragged-right = ##t } \new StaffGroup -\relative c' << +\relative << \set StaffGroup.systemStartDelimiterHierarchy = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d) - \new Staff { c1 } + \new Staff { c'1 } \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } diff --git a/input/regression/tablature-tie-behaviour.ly b/input/regression/tablature-tie-behaviour.ly index 381cb249ce..0a67e2b814 100644 --- a/input/regression/tablature-tie-behaviour.ly +++ b/input/regression/tablature-tie-behaviour.ly @@ -18,9 +18,9 @@ secondpart = \relative { c'1 ~ \break c2 ~ 2 } -thirdpart = \relative c' { +thirdpart = \relative { \repeat volta 2 { - < c\3 e\2 g\1 >4 < c\3 e\2 g\1 > ~ < c\3 e\2 g\1 >\laissezVibrer r + < c'\3 e\2 g\1 >4 < c\3 e\2 g\1 > ~ < c\3 e\2 g\1 >\laissezVibrer r c4. d8 e2 ~ } \alternative { { e2 r } { e2\repeatTie e2^\fermata } } diff --git a/input/regression/tablature-zero-finger.ly b/input/regression/tablature-zero-finger.ly index f201799d8a..a22a58e51e 100644 --- a/input/regression/tablature-zero-finger.ly +++ b/input/regression/tablature-zero-finger.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" #(ly:set-option 'warning-as-error #f) #(ly:expect-warning (_ "No open string for pitch ~a") "#<Pitch f >") @@ -10,7 +10,7 @@ a warning message and set the requested pitch in the tablature. " } -mymusic = \relative c { +mymusic = \relative { \set minimumFret = #1 <d-0 d'-2 f-3 a-1>1 <f-0> diff --git a/input/regression/text-spanner.ly b/input/regression/text-spanner.ly index ae56d940df..5c2d481703 100644 --- a/input/regression/text-spanner.ly +++ b/input/regression/text-spanner.ly @@ -1,5 +1,5 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc= "Text spanners should not repeat start text when broken." } @@ -7,10 +7,10 @@ ragged-right = ##t } -\relative c'' { +\relative { \set crescendoText = #"cresc." \set crescendoSpanner = #'text - c1\< c \break + c''1\< c \break c1 c\! \break } diff --git a/input/regression/tie-accidental.ly b/input/regression/tie-accidental.ly index aea5616fce..d7060cb69c 100644 --- a/input/regression/tie-accidental.ly +++ b/input/regression/tie-accidental.ly @@ -4,16 +4,16 @@ " } -\version "2.17.6" +\version "2.19.21" \paper { debug-tie-scoring = ##t ragged-right = ##t } -\relative c'' { +\relative { \override Tie.layer = #2 - a ~ <fis a> + a' ~ <fis a> } % EOF diff --git a/input/regression/tie-broken-minimum-length.ly b/input/regression/tie-broken-minimum-length.ly index fab5dc33e8..13dc222e10 100644 --- a/input/regression/tie-broken-minimum-length.ly +++ b/input/regression/tie-broken-minimum-length.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { @@ -13,8 +13,8 @@ has a @code{minimum-length} of 5." line-width = 40.0\mm } -\relative c' { +\relative { \override Tie.minimum-length = #5 - f2. f16 f f f ~ | \break + f'2. f16 f f f ~ | \break f1 } diff --git a/input/regression/tie-manual-vertical-tune.ly b/input/regression/tie-manual-vertical-tune.ly index b882d21e0f..8c4862aedc 100644 --- a/input/regression/tie-manual-vertical-tune.ly +++ b/input/regression/tie-manual-vertical-tune.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "If using integers, the tie will vertically tuned for @@ -6,9 +6,9 @@ staff line avoidance. If using a floating point number, this is taken as the exact location." } -\relative c'' { +\relative { \override Tie.staff-position = #3 - d4 ~ + d''4 ~ \override Tie.staff-position = #3.0 d ~ d diff --git a/input/regression/time-signature-mensural.ly b/input/regression/time-signature-mensural.ly index 32081c902f..d6d18c3780 100644 --- a/input/regression/time-signature-mensural.ly +++ b/input/regression/time-signature-mensural.ly @@ -1,4 +1,4 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "This test covers the mensural and neomensural time signature styles." @@ -12,8 +12,8 @@ \layout { indent = 0 } -testMusic = \relative f' { - \time 4/4 \partial 4 f4 +testMusic = \relative { + \time 4/4 \partial 4 f'4 \time 2/2 \partial 4 f4 \time 6/4 \partial 4 f4 \time 6/8 \partial 4 f4 diff --git a/input/regression/time-signature-numbered.ly b/input/regression/time-signature-numbered.ly index e28772d2d4..8c60215db5 100644 --- a/input/regression/time-signature-numbered.ly +++ b/input/regression/time-signature-numbered.ly @@ -1,13 +1,13 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "The numbered time signature style prints a fraction." } \new Staff { - \relative d' { + \relative { \override Staff.TimeSignature.style = #'numbered - \time 4/4 d1 + \time 4/4 d'1 \time 3/4 d2. \time 2/2 d1 \time 16/128 d8 diff --git a/input/regression/time-signature-single-digit.ly b/input/regression/time-signature-single-digit.ly index fcf473c57b..e5b816a457 100644 --- a/input/regression/time-signature-single-digit.ly +++ b/input/regression/time-signature-single-digit.ly @@ -1,13 +1,13 @@ -\version "2.19.16" +\version "2.19.21" \header { texidoc = "The single-digit time signature style prints the numerator only." } \new Staff { - \relative d' { + \relative { \override Staff.TimeSignature.style = #'single-digit - \time 1/2 d2 + \time 1/2 d'2 \time 2/4 d4 d \time 3/4 d2. \time 16/4 d\longa diff --git a/input/regression/tuplet-beam.ly b/input/regression/tuplet-beam.ly index 6b84baa674..e3a585fe47 100644 --- a/input/regression/tuplet-beam.ly +++ b/input/regression/tuplet-beam.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "In combination with a beam, the bracket of the tuplet @@ -9,8 +9,8 @@ the bracket." } \layout { ragged-right= ##t } -\context Voice\relative c'' { - \tuplet 3/2 { r c8[ c8] } +\context Voice\relative { + \tuplet 3/2 { r c''8[ c8] } \tuplet 3/2 { c8[ c c] } \tuplet 3/2 { c16[ c16] c8[ c8] } } diff --git a/input/regression/tuplet-bracket-avoid-fingering.ly b/input/regression/tuplet-bracket-avoid-fingering.ly index 719851b26d..72df3d62a0 100644 --- a/input/regression/tuplet-bracket-avoid-fingering.ly +++ b/input/regression/tuplet-bracket-avoid-fingering.ly @@ -1,11 +1,11 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "@code{TupletBracket} grobs avoid @code{Fingering} grobs. " } -\relative d'' { +\relative { \override TupletBracket.direction = #UP - \tuplet 3/2 { d4 a8-4 } + \tuplet 3/2 { d''4 a8-4 } } diff --git a/input/regression/tuplet-bracket-avoid-scripts.ly b/input/regression/tuplet-bracket-avoid-scripts.ly index 1cccccde46..9edbde3f1d 100644 --- a/input/regression/tuplet-bracket-avoid-scripts.ly +++ b/input/regression/tuplet-bracket-avoid-scripts.ly @@ -1,10 +1,10 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Tuplet brackets avoid scripts by default. " } -\relative c'' { - \tuplet 3/2 { a8^\espressivo r a^\espressivo } +\relative { + \tuplet 3/2 { a'8^\espressivo r a^\espressivo } } diff --git a/input/regression/tuplet-bracket-avoid-string-number.ly b/input/regression/tuplet-bracket-avoid-string-number.ly index 62ce79a461..11c2ddff6e 100644 --- a/input/regression/tuplet-bracket-avoid-string-number.ly +++ b/input/regression/tuplet-bracket-avoid-string-number.ly @@ -1,11 +1,11 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "@code{TupletBracket} grobs avoid @code{StringNumber} grobs. " } -\relative d'' { +\relative { \override TupletBracket.direction = #UP - \tuplet 3/2 { d4 <a\4>8 } + \tuplet 3/2 { d''4 <a\4>8 } } diff --git a/input/regression/tuplet-bracket-outside-staff-priority.ly b/input/regression/tuplet-bracket-outside-staff-priority.ly index ecfa6814f7..15d5220612 100644 --- a/input/regression/tuplet-bracket-outside-staff-priority.ly +++ b/input/regression/tuplet-bracket-outside-staff-priority.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Tuplet brackets' outside staff priority can be @@ -6,10 +6,10 @@ set. Brackets, by default, carry their numbers with them." } -\relative c'' { +\relative { \override TupletBracket.avoid-scripts = ##f % Plain old tuplet - \tuplet 3/2 { a8 r a } + \tuplet 3/2 { a'8 r a } % With nothing set, collisions abound both horizontally and % vertically \tuplet 3/2 { a8^\espressivo r a^\espressivo } diff --git a/input/regression/tuplet-bracket-vertical-skylines.ly b/input/regression/tuplet-bracket-vertical-skylines.ly index 752f595128..db82cafb57 100644 --- a/input/regression/tuplet-bracket-vertical-skylines.ly +++ b/input/regression/tuplet-bracket-vertical-skylines.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Tuplet brackets do not push objects with outside-staff-priority @@ -6,7 +6,7 @@ too high. " } -\relative c' { +\relative { \override TupletBracket.direction = #UP \tuplet 1/1 { a^"foo" a' a' a' } } diff --git a/input/regression/tuplet-bracket-visibility.ly b/input/regression/tuplet-bracket-visibility.ly index 1d4a986ac5..e3ad513b17 100644 --- a/input/regression/tuplet-bracket-visibility.ly +++ b/input/regression/tuplet-bracket-visibility.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "The default behavior of tuplet-bracket visibility is to print a bracket @@ -20,8 +20,8 @@ unless there is a beam of the same length as the tuplet. Overriding " } -music = \relative c'' { - \tuplet 3/2 { c16[ d e } f8] +music = \relative { + \tuplet 3/2 { c''16[ d e } f8] \tuplet 3/2 { c8 d e } \tuplet 3/2 { c4 d e } } diff --git a/input/regression/tuplet-broken.ly b/input/regression/tuplet-broken.ly index 9021ead4b1..6bb811ab5a 100644 --- a/input/regression/tuplet-broken.ly +++ b/input/regression/tuplet-broken.ly @@ -8,7 +8,7 @@ } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t @@ -16,7 +16,7 @@ } -\relative c'' { +\relative { \override TupletNumber.text = #tuplet-number::calc-fraction-text \override TupletBracket.edge-text = #(cons @@ -24,7 +24,7 @@ #:arrow-head X LEFT #f) (markup #:arrow-head X RIGHT #f)) \tuplet 19/11 { - c4 c4 c4 c4 + c''4 c4 c4 c4 \bar "-" \break c4 c4 c4 c4 c4 c4 c4 c4 diff --git a/input/regression/tuplet-full-length.ly b/input/regression/tuplet-full-length.ly index 484d24762b..6eac8bfd3c 100644 --- a/input/regression/tuplet-full-length.ly +++ b/input/regression/tuplet-full-length.ly @@ -5,19 +5,19 @@ start of the next non-tuplet note. " } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t indent = 0.0 } -\relative c'' \new Voice \with { +\relative \new Voice \with { \remove Forbid_line_break_engraver \override Beam.breakable = ##t } { \set tupletFullLength = ##t - c4 + c''4 \tuplet 3/2 { c8[ c c] } \tuplet 3/2 { c8[ c \bar "-" \break c] } << \tuplet 3/2 { c8[ c c] } diff --git a/input/regression/tuplet-gap.ly b/input/regression/tuplet-gap.ly index 4bf91a6e4d..f7428cc6d5 100644 --- a/input/regression/tuplet-gap.ly +++ b/input/regression/tuplet-gap.ly @@ -5,7 +5,7 @@ } -\version "2.17.11" +\version "2.19.21" \layout { indent = 0.0\mm @@ -13,8 +13,8 @@ } -\relative c'' { +\relative { \override TupletNumber.text = #tuplet-number::calc-fraction-text - \tuplet 12/17 { c8 c4 c8 c8} + \tuplet 12/17 { c''8 c4 c8 c8} } diff --git a/input/regression/tuplet-nest-broken.ly b/input/regression/tuplet-nest-broken.ly index 33876e0034..edfffb87de 100644 --- a/input/regression/tuplet-nest-broken.ly +++ b/input/regression/tuplet-nest-broken.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Broken nested tuplets avoid each other correctly. @@ -14,13 +14,13 @@ \score { \new Staff << - \relative c'' { + \relative { \override Score.Beam.breakable = ##t r2 \tuplet 3/4 { - \tuplet 3/2 { c8[ c c] } + \tuplet 3/2 { c''8[ c c] } \tuplet 3/2 { c8[ c c] } \tuplet 3/2 { c8[ c c] } } diff --git a/input/regression/tuplet-nest.ly b/input/regression/tuplet-nest.ly index 093c57f289..8c10cdcd1b 100644 --- a/input/regression/tuplet-nest.ly +++ b/input/regression/tuplet-nest.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc=" Tuplets may be nested." @@ -10,9 +10,9 @@ indent = 0.0 } -\relative c'' { +\relative { \tuplet 3/4 { - \tuplet 3/2 { c8[ c c] } + \tuplet 3/2 { c''8[ c c] } \tuplet 3/2 { c8[ c c] } \tuplet 3/2 { c8[ c c] } } diff --git a/input/regression/tuplet-number-french-kneed-beams.ly b/input/regression/tuplet-number-french-kneed-beams.ly index a69ba526d0..2cd490016c 100644 --- a/input/regression/tuplet-number-french-kneed-beams.ly +++ b/input/regression/tuplet-number-french-kneed-beams.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "Tuplet numbers are positioned correctly on kneed French-style beams." @@ -13,7 +13,7 @@ top = \change Staff = "1" bottom = \change Staff = "2" music = -\relative c' { +\relative { \time 3/4 \override Beam.auto-knee-gap = 1 \override Stem.french-beaming = ##t diff --git a/input/regression/tuplet-number-kneed-beam-even-stem-count.ly b/input/regression/tuplet-number-kneed-beam-even-stem-count.ly index e66bc6931c..e52b760619 100644 --- a/input/regression/tuplet-number-kneed-beam-even-stem-count.ly +++ b/input/regression/tuplet-number-kneed-beam-even-stem-count.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "In tuplets with an even number of stems, the number @@ -13,11 +13,11 @@ case the number is placed opposite the partial beam." ragged-right = ##t } -\relative c' { +\relative { \time 2/4 \override Beam.auto-knee-gap = 1 \tuplet 6/4 4 { - c16 c'' c,, c'' c,, c'' + c'16 c'' c,, c'' c,, c'' \once \override TupletNumber.direction = #UP c,,16 c'' c,, c'' c,, c'' } diff --git a/input/regression/tuplet-number-kneed-beam-horizontal-fit.ly b/input/regression/tuplet-number-kneed-beam-horizontal-fit.ly index 21f17d1827..5f23f5eba7 100644 --- a/input/regression/tuplet-number-kneed-beam-horizontal-fit.ly +++ b/input/regression/tuplet-number-kneed-beam-horizontal-fit.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "Tuplet numbers are placed next to the beam unless there is @@ -18,13 +18,13 @@ below the noteheads." } \score { - \relative c' { + \relative { \time 2/4 \override Beam.auto-knee-gap = 1 \tuplet 6/4 4 { \once \override TupletNumber.text = #tuplet-number::calc-fraction-text - c16 c'' c,, c'' c,, c'' + c'16 c'' c,, c'' c,, c'' \once \override TupletNumber.text = #(tuplet-number::fraction-with-notes "16" "16") c,,16 c'' c,, c'' c,, c'' diff --git a/input/regression/tuplet-number-kneed-beam-ledger-lines.ly b/input/regression/tuplet-number-kneed-beam-ledger-lines.ly index 1ce4201611..58db776e8d 100644 --- a/input/regression/tuplet-number-kneed-beam-ledger-lines.ly +++ b/input/regression/tuplet-number-kneed-beam-ledger-lines.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "A tuplet number associated with a kneed beam is not placed between @@ -10,10 +10,10 @@ beam and staff where it may collide with ledger lines." ragged-right = ##t } -\relative c'' { +\relative { \override Beam.auto-knee-gap = 1 \tuplet 3/2 4 { - c8 c''' cis,,, + c''8 c''' cis,,, c8 c'''' c,,, c''8 c c,, c,8 c,,, c''' diff --git a/input/regression/tuplet-number-kneed-beam-positions.ly b/input/regression/tuplet-number-kneed-beam-positions.ly index 3618ed21e9..d98353494a 100644 --- a/input/regression/tuplet-number-kneed-beam-positions.ly +++ b/input/regression/tuplet-number-kneed-beam-positions.ly @@ -1,4 +1,4 @@ -\version "2.19.4" +\version "2.19.21" \header { texidoc = "Tuplet numbers are placed next to kneed beams when @@ -13,7 +13,7 @@ top = \change Staff = "1" bottom = \change Staff = "2" -music = \relative c { +music = \relative { \override Beam.auto-knee-gap = 1 \tuplet 3/2 4 { c8 \top e'' \bottom g,, diff --git a/input/regression/tuplet-number-outside-staff-positioning.ly b/input/regression/tuplet-number-outside-staff-positioning.ly index 8cdb353a6d..93e28aac05 100644 --- a/input/regression/tuplet-number-outside-staff-positioning.ly +++ b/input/regression/tuplet-number-outside-staff-positioning.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { @@ -10,8 +10,8 @@ positioned above them. } -\relative c'' { +\relative { \override TupletBracket.outside-staff-priority = #1 \override TupletNumber.font-size = #5 - \tuplet 3/2 { a4\trill a\trill^"foo" a\trill } + \tuplet 3/2 { a'4\trill a\trill^"foo" a\trill } }
\ No newline at end of file diff --git a/input/regression/tuplet-number-outside-staff-priority.ly b/input/regression/tuplet-number-outside-staff-priority.ly index 1a21d0cf77..dfbf8cd9c9 100644 --- a/input/regression/tuplet-number-outside-staff-priority.ly +++ b/input/regression/tuplet-number-outside-staff-priority.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Tuplet numbers' outside staff priority can be @@ -6,9 +6,9 @@ set." } -\relative c'' { +\relative { \override TupletBracket.avoid-scripts = ##f - \tuplet 3/2 { a8\trill a\trill a\trill } + \tuplet 3/2 { a'8\trill a\trill a\trill } \override TupletNumber.outside-staff-priority = #1 \tuplet 3/2 { a8\trill a\trill a\trill } \override Script.outside-staff-priority = #2 diff --git a/input/regression/tuplet-number-shift-along-kneed-beam.ly b/input/regression/tuplet-number-shift-along-kneed-beam.ly index b951fa132f..272095b34e 100644 --- a/input/regression/tuplet-number-shift-along-kneed-beam.ly +++ b/input/regression/tuplet-number-shift-along-kneed-beam.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "Tuplet numbers will maintain a constant distance from @@ -10,9 +10,9 @@ kneed beams when offset horizontally." ragged-right = ##f } -\relative c' { +\relative { \tuplet 3/2 4 { - c8 g''' a + c'8 g''' a \once \offset X-offset 2 TupletNumber c,,, g''' a \once \offset X-offset #-2 TupletNumber diff --git a/input/regression/tuplet-numbers-kneed-beams-accidentals.ly b/input/regression/tuplet-numbers-kneed-beams-accidentals.ly index c00f4e102d..33a99bd1ff 100644 --- a/input/regression/tuplet-numbers-kneed-beams-accidentals.ly +++ b/input/regression/tuplet-numbers-kneed-beams-accidentals.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "Tuplet numbers associated with kneed beams will @@ -13,7 +13,7 @@ avoid accidentals." top = \change Staff = "1" bottom = \change Staff = "2" -music = \relative c { +music = \relative { \override Beam.auto-knee-gap = 1 \tuplet 5/4 4 { c16[ \top g'' e' \bottom fis,, \top c'] diff --git a/input/regression/tuplet-numbers-kneed-beams.ly b/input/regression/tuplet-numbers-kneed-beams.ly index 1286b209ca..e23728827b 100644 --- a/input/regression/tuplet-numbers-kneed-beams.ly +++ b/input/regression/tuplet-numbers-kneed-beams.ly @@ -1,4 +1,4 @@ -\version "2.19.3" +\version "2.19.21" \header { texidoc = "Tuplet numbers are positioned next to kneed beams." @@ -12,7 +12,7 @@ top = \change Staff = "1" bottom = \change Staff = "2" -music = \relative c { +music = \relative { \time 3/4 \override Beam.auto-knee-gap = 1 \tuplet 3/2 4 { diff --git a/input/regression/tuplet-properties.ly b/input/regression/tuplet-properties.ly index 4af8ddd23c..4e5e839c8a 100644 --- a/input/regression/tuplet-properties.ly +++ b/input/regression/tuplet-properties.ly @@ -1,4 +1,4 @@ -\version "2.17.30" +\version "2.19.21" \header { texidoc = "Tuplet bracket formatting supports numerous options, @@ -6,9 +6,9 @@ for instance, bracketed (B) and non-bracketed (NB). " } -\context Voice \relative c'' { +\context Voice \relative { - \tuplet 3/2 { c'8 c,, c } + \tuplet 3/2 { c'''8 c,, c } \tuplet 3/2 { c'8 c'' c,, } \tuplet 3/2 { c8[^"NB" c c] } diff --git a/input/regression/tuplet-rest.ly b/input/regression/tuplet-rest.ly index beda1ec33e..854ddc54e2 100644 --- a/input/regression/tuplet-rest.ly +++ b/input/regression/tuplet-rest.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Tuplets may contain rests. " @@ -7,9 +7,9 @@ } -\context Voice \relative c'' { +\context Voice \relative { \time 2/4 - \tuplet 3/2 { r c,,, c''' } + \tuplet 3/2 { r c, c''' } \tuplet 3/2 { r c c } \tuplet 3/2 { r c r } \tuplet 3/2 { r r r } diff --git a/input/regression/tuplet-single-note.ly b/input/regression/tuplet-single-note.ly index 322a4d635b..2715268453 100644 --- a/input/regression/tuplet-single-note.ly +++ b/input/regression/tuplet-single-note.ly @@ -4,14 +4,14 @@ texidoc = "Show tuplet numbers also on single-note tuplets (otherwise the timing would look messed up!), but don't show a bracket. Make sure that tuplets without any notes don't show any number, either." } -\version "2.17.11" +\version "2.19.21" \paper { ragged-right = ##t indent = 0.0 } \new Staff << - \new Voice \relative c'' { - \tuplet 6/4 { c2.:8 } \tuplet 3/2 { g4.:8 } \tuplet 3/2 { a,4.:8 } \tuplet 6/4 {} \bar"|." + \new Voice \relative { + \tuplet 6/4 { c''2.:8 } \tuplet 3/2 { g4.:8 } \tuplet 3/2 { a,4.:8 } \tuplet 6/4 {} \bar"|." } >> diff --git a/input/regression/tuplet-slope.ly b/input/regression/tuplet-slope.ly index c112f0c9af..6be44d91bc 100644 --- a/input/regression/tuplet-slope.ly +++ b/input/regression/tuplet-slope.ly @@ -15,15 +15,15 @@ The bracket direction is determined by the dominating stem direction. ragged-right = ##t } -\version "2.17.11" +\version "2.19.21" \new Voice { - \relative c'' { - \tuplet 3/2 { c4 d e} + \relative { + \tuplet 3/2 { c''4 d e} \tuplet 3/2 { c4 d e} } - \relative c' { + \relative { \tuplet 5/4 { a'4 as g fis f } \tuplet 5/4 { fis4 e es d des } \tuplet 5/4 { fis,4 e es d des } diff --git a/input/regression/tuplet-staffline-collision.ly b/input/regression/tuplet-staffline-collision.ly index 8729d9747a..6f0d244078 100644 --- a/input/regression/tuplet-staffline-collision.ly +++ b/input/regression/tuplet-staffline-collision.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header { texidoc = "Horizontal tuplet brackets are shifted vertically @@ -9,8 +9,8 @@ to avoid staff line collisions." \layout { ragged-right= ##t } -\context Voice\relative c'' { - \tuplet 3/2 { b'4 b b } +\context Voice\relative { + \tuplet 3/2 { b''4 b b } \tuplet 3/2 { f4 f f } \tuplet 3/2 { g4 g g } \tuplet 3/2 { a4 a a } diff --git a/input/regression/tuplet-subdivision.ly b/input/regression/tuplet-subdivision.ly index 82fd4b9780..60df2449e2 100644 --- a/input/regression/tuplet-subdivision.ly +++ b/input/regression/tuplet-subdivision.ly @@ -1,4 +1,4 @@ -\version "2.17.11" +\version "2.19.21" \header { @@ -7,11 +7,11 @@ Subdivision works properly for tuplets " } -\relative c'' { +\relative { \set subdivideBeams = ##t \set baseMoment = #(ly:make-moment 1/8) \set beatStructure = #'(2 2 2 2) \repeat unfold 8 { - \tuplet 3/2 { c16 e d } + \tuplet 3/2 { c''16 e d } } } diff --git a/input/regression/tuplet-text-different-numbers.ly b/input/regression/tuplet-text-different-numbers.ly index 7e01d344db..50099cb8d3 100644 --- a/input/regression/tuplet-text-different-numbers.ly +++ b/input/regression/tuplet-text-different-numbers.ly @@ -1,13 +1,13 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc="Non-standard tuplet texts: Printing other tuplet fractions than the ones actually assigned." } \layout { ragged-right= ##t } -\context Voice \relative c'' { +\context Voice \relative { \once \override TupletNumber.text = #(tuplet-number::non-default-tuplet-denominator-text 7) - \tuplet 3/2 { c4. c4. c4. c4. } + \tuplet 3/2 { c''4. c4. c4. c4. } \once \override TupletNumber.text = #(tuplet-number::non-default-tuplet-fraction-text 12 7) \tuplet 3/2 { c4. c4. c4. c4. } \once \override TupletNumber.text = #(tuplet-number::append-note-wrapper (tuplet-number::non-default-tuplet-fraction-text 12 7) "8") diff --git a/input/regression/tuplet-text-fraction-with-notes.ly b/input/regression/tuplet-text-fraction-with-notes.ly index 9a63ebdf45..ae3b30b836 100644 --- a/input/regression/tuplet-text-fraction-with-notes.ly +++ b/input/regression/tuplet-text-fraction-with-notes.ly @@ -1,12 +1,12 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc="Non-standard tuplet texts: Printing a tuplet fraction with note durations assigned to both the denominator and the numerator." } -\context Voice \relative c'' { +\context Voice \relative { \once \override TupletNumber.text = #(tuplet-number::fraction-with-notes "4." "8") - \tuplet 3/2 { c4. c4. c4. c4. } + \tuplet 3/2 { c''4. c4. c4. c4. } \once \override TupletNumber.text = #(tuplet-number::non-default-fraction-with-notes 12 "8" 4 "4") \tuplet 3/2 { c4. c4. c4. c4. } } diff --git a/input/regression/tuplet-text-note-appended.ly b/input/regression/tuplet-text-note-appended.ly index c29e1f1997..539d29fea0 100644 --- a/input/regression/tuplet-text-note-appended.ly +++ b/input/regression/tuplet-text-note-appended.ly @@ -1,13 +1,13 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc="Non-standard tuplet texts: Appending a note value to the normal text and to the fraction text." } \layout { ragged-right= ##t } -\context Voice \relative c'' { +\context Voice \relative { \once \override TupletNumber.text = #(tuplet-number::append-note-wrapper tuplet-number::calc-denominator-text "4") - \tuplet 3/2 { c8 c8 c8 c8 c8 c8 } + \tuplet 3/2 { c''8 c8 c8 c8 c8 c8 } \once \override TupletNumber.text = #(tuplet-number::append-note-wrapper tuplet-number::calc-fraction-text "4") \tuplet 3/2 { c8 c8 c8 c8 c8 c8 } } diff --git a/input/regression/tuplets.ly b/input/regression/tuplets.ly index c250c5bea4..3900594eb9 100644 --- a/input/regression/tuplets.ly +++ b/input/regression/tuplets.ly @@ -1,5 +1,5 @@ -\version "2.17.11" +\version "2.19.21" \header{ texidoc=" @@ -19,8 +19,8 @@ direction as the bracket. The endings can be adjusted with \layout { ragged-right= ##t } -\context Voice \relative c'' { - \tuplet 3/2 { a8 b c } +\context Voice \relative { + \tuplet 3/2 { a'8 b c } \tuplet 3/2 { r8 b[ f] } \override TupletBracket.bracket-flare = #'(0.5 . 0.5) \tuplet 3/2 { r8 b r8 } diff --git a/input/regression/unpure-pure-container.ly b/input/regression/unpure-pure-container.ly index 09971b0e27..1ceb243a47 100644 --- a/input/regression/unpure-pure-container.ly +++ b/input/regression/unpure-pure-container.ly @@ -1,5 +1,5 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "unpure-pure containers take two arguments: an unpure property and @@ -14,9 +14,9 @@ of 8. " } -\relative c'' { +\relative { \stemUp \autoBeamOff - d,8 eis' + d'8 eis' \once \override Flag.Y-offset = #(ly:make-unpure-pure-container ly:flag::calc-y-offset 8) d,8 eis'! diff --git a/input/regression/unset-once.ly b/input/regression/unset-once.ly index 32fad554a0..e9554e01f2 100644 --- a/input/regression/unset-once.ly +++ b/input/regression/unset-once.ly @@ -1,4 +1,4 @@ -\version "2.17.15" +\version "2.19.21" \header { @@ -6,9 +6,9 @@ value for just one timestep and then return to the previous value." } -\relative c' { +\relative { \set fingeringOrientations = #'(left) - <e-1>1 | + <e'-1>1 | \once \unset fingeringOrientations <e-1>-"default" | <e-1>-"left" | diff --git a/input/regression/voice-follower.ly b/input/regression/voice-follower.ly index a992a5cfbd..100327638c 100644 --- a/input/regression/voice-follower.ly +++ b/input/regression/voice-follower.ly @@ -1,4 +1,4 @@ -\version "2.16.0" +\version "2.19.21" \header { texidoc= " @@ -13,11 +13,11 @@ can be printed automatically. This is enabled if the property ragged-right = ##t } -\relative c' +\relative \context PianoStaff << \set PianoStaff.followVoice = ##t \new Staff = "one" \context Voice { - c1 + c'1 \change Staff=two b2 a } diff --git a/input/regression/whiteout-lower-layers.ly b/input/regression/whiteout-lower-layers.ly index 3b1c30971f..a7284b9918 100644 --- a/input/regression/whiteout-lower-layers.ly +++ b/input/regression/whiteout-lower-layers.ly @@ -1,4 +1,4 @@ -\version "2.17.6" +\version "2.19.21" \header { texidoc = "If the 'whiteout property of a grob is set to #t, that part of all objects in lower @@ -8,7 +8,7 @@ Tie but not the StaffSymbol. " } -\relative c' { +\relative { \time 3/4 \override Staff.StaffSymbol.layer = #4 \once \override Tie.layer = #2 diff --git a/input/regression/whiteout.ly b/input/regression/whiteout.ly index c2802628ea..def544c1b6 100644 --- a/input/regression/whiteout.ly +++ b/input/regression/whiteout.ly @@ -4,15 +4,15 @@ markup. " } -\version "2.17.6" +\version "2.19.21" \paper { ragged-right = ##t } -\relative c'' { +\relative { \override TextScript.layer = #'2 \override TextScript.extra-offset = #'(2 . 4) - c4-\markup { \whiteout \pad-markup #0.5 foo } c + c''4-\markup { \whiteout \pad-markup #0.5 foo } c } |